
New Artist Focus: Adam Pugh on Lucy Parker
It is relatively easy to distil the political to a cool academicism, to view it only via the lens of historiography or to abstract it
It is relatively easy to distil the political to a cool academicism, to view it only via the lens of historiography or to abstract it
Having championed the ‘new romantic’ filmmakers such as John Maybury, Holly Warburton and Cerith Wyn-Evans that emerged at the end of the 1970s, Michael O’Pray
“The relationship between the absence of use, of activity, and the sense of freedom, of expectancy, is fundamental to understanding the evocative potential of the
Writing about art requires a subtraction—suspending my own assumptions about a work of art in advance of the encounter. How do I avoid attributing veracity
As the LFMC 50th anniversary year comes to an end, we have asked artist-filmmaker, and former Co-op worker, Nicky Hamlyn to reflect on the Co-op’s workshop and
Throughout the year, marking the 50th anniversary of the London Film-Makers’ Co-operative, LUX has celebrated the LFMC’s legacy with a series of screenings, performances, talks, commissions and
The following text was written by A.L. Rees in 2002 as an overview of the work produced during the first decade of the London Film-Makers’
2016 marks the 50th anniversary of the founding of the London Film-Makers’ Co-operative (LFMC), a ground-breaking organisation that inaugurated a tradition for the production, distribution, and exhibition
A photograph of five men standing in front of a concrete wall, somewhere in Beirut. Four hold rifles. One looks toward the camera while the
In this previously unpublished text from 2002, Barry Miles surveys some of the activities in London’s counterculture at the time that the LFMC was formed.
On the occasion of the publication of the book Shoot Shoot Shoot: The First Decade of the London Film-Makers’ Co-operative 1966-76 edited by Mark Webber (LUX, October
Austrian-born London-based artist Ursula Mayer works across film, sculpture, installation, and photography to create “kaleidoscopic” spaces in which various source materials intersect and boundaries of
How can the process of film-making be productively shaped by self-imposed constraints? By what means can film performance bring to light key material, technological, and
A revolutionary cry is heard in Haiti. Police sirens race across a Parisian street by night, and we collectively listen to Angela Davis discuss the
The first work I saw of Corin’s was After School Special from 2009. It was a couple of years old when I saw it, but
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