LUX is pleased to announce an exhibition of newly commissioned moving image works by Evan Ifekoya, Margaret Salmon and P. Staff
Following on from their World Premiere at the London Short Film Festival on 15th January 2022 LUX is proud to present three newly commissioned artists’ films inspired by the life and work of boundary-pushing experimental filmmaker Stephen Dwoskin (1939-2012). Rather than films about Dwoskin these new works take creative inspiration from his work and the themes he explored throughout his life of masculinity, sexuality, disability, illness, pain/pleasure, voyeurism, movement and desire. The films are commissioned by LUX and the University of Reading as part of the Legacies of Stephen Dwoskin, a three year research project supported by the AHRC.
P. Staff‘s new single-screen work Hevn cuts together digital and analogue filmmaking techniques with poetry, hand painted animation and industrial sound. The work combines influence from Stephen Dwoskin’s exploration of pleasure and pain in the sick or debilitated body with Staff’s own video and poetry practice exploring the volatility of queer and trans bodies through dreaming, volatility, inebriation and exhaustion.
For Undercurrent 528 a series of invitations were sent out by Evan Ifekoya to their extended community for a dancer, a drummer, a gathering around breath and breathing and a sonic response to these images. Participants were invited to take part in person, or virtually, to explore tantric techniques of visualisation, breath work, movement and sound to awaken the senses, release the Bliss hormone and heal the Divided Self. This new video work explores the relationship between documentation and liveness, opening portals of intimacy by bringing people together through different spaces and time. Inspired by Sylvia Wynter’s statement that drums are “enabling mechanism(s) of consciousness reversal” (Black Metamorphosis), Undercurrent 528 is an offering of rhythmic medicine.
Margaret Salmon’s Boy (winter) is a film study, shot on 35mm film, presenting viewers with a set of encounters, celluloid descriptions and imaginative analysis of contemporary boyhood. Shot on location in Glasgow in late 2021, this is the first in a two-part series of films exploring masculinity and stages of (identifying) male physical and psychological development in Britain.
This work is in response to the expansive oeuvre of Stephen Dwoskin, in particular his early portrait films, but also follows a strand of research and enquiry which has been active in Salmon’s own feminist film practice. That is, gendered dynamics experienced within the everyday, expressed through the body and film culture.