Collection Artist(s)

Other Artists

  • The Otolith Group

    The Otolith Group was founded in 2002 and consists of Anjalika Sagar and Kodwo Eshun who live and work in London. During their longstanding collaboration, The Otolith Group have drawn from a wide range of resources and materials. Their work is research based and spans the moving image, audio, performance, installation, and curation. They incorporate film making and post-lens-based essayistic aesthetics that explore the temporal anomalies, anthropic inversions, and synthetic alienation of posthuman, the inhuman, the non-human, and the complexity of the environmental conditions of like we all face. In 2010 The Otolith Group were nominated for the Turner Prize.

  • Ayo Akingbade

    Ayo Akingbade is a British Nigerian artist and filmmaker in London. Her short film Tower XYZ (2016) was produced as part of STOP PLAY RECORD and has been shown at multiple festivals and screenings throughout 2017. Tower XYZ received a Special Mention Award the International Short Film Festival Oberhausen and won the inaugural Sonja Savic Award. She is a recipient of the 2018 Sundance Institute Ignite Fellowship for emerging filmmakers.

  • John Akomfrah
  • Brad Butler

    Brad Butler and Noor Afshan's (formerly known as Karen Mirza) multi-layered practice consists of filmmaking9drawing, installation, photography, performance, publishing and curating. Their work challenges terms such as participation, collaboration, the social turn and the the traditional roles of the artist as producer and the audience as recipient. Since 2009, Mirza and Butler have been developing a body of work entitled 'The Museum of Non Participation'. The artists have repeatedly found themselves embedded in pivotal moments of change, protest, non-alignment and debate. Experiencing such spaces of contestation both directly and through the network of art institutions, Mirza and Butler negotiate these .influences in video, photography, text and action

  • Duncan Campbell

    Duncan Campbell is an Irish video artist living in Glasgow. His art is often based on intense archival research and deals with a range of subjects including Northern Irish politician Bernadette Devlin, the DeLorean car project, and German economist Hans Tietmeyer. His films are concerned with these histories and how they bear on the present. In particular, Campbell uses his films to explore how social, political and personal narratives are constructed and relayed over time. As such, he not only questions the degree to which documentary is fiction, but also complicates the accepted authority and integrity of cultural records. Campbell weaves imagery of his own construction with found official documentation and original footage. He was the recipient of the 2014 Turner Prize for his video work It for Others.

  • Luke Fowler

    Luke Fowler lives and works in Glasgow. He is an artist, filmmaker and musician whose work explores the limits and conventions of biographical and documentary filmmaking, and has often been compared to the British Free Cinema of the 1950s. Working with archival footage, photography and sound, Fowler's filmic montages create portraits of intriguing, counter cultural figures, including Scottish psychiastrist R.D. Laing and English composer Corneliys Cardew. Fowler was also nominated for the 2012 Turner Prize. 

  • Beatrice Gibson

    Beatrice Gibson lives and works in London. She is an artist-filmmaker whose films explore the pull between chaos and control in the process of their making. Drawing on figures from experimental modernist composition and literature such as Cornelius Cardew, Robert Ashley and Gertrude Stein, Gibson's films are often participatory and incorporate co-creative and collaborative processes and ideas.

  • Louis Henderson

    Louis Henderson is a filmmaker who is currently trying to find new ways of working with people to address and question our current global condition defined by racial capitalism and ever-present histories of the European colonial project. The working method is archaological.

  • Callum Hill

    Callum Hill is a London-based artist-filmaker. She studied Fine Art at Goldsmiths College and Sculpture and Moving Image at the Royal College of Art, London. Her films are led by real characters, locations and experiences. From these factual starting point Hill constructs idiosyncratic and at times erratic narratives that are driven by a psychoanalytical process. Her short film Crowtrap was the recipient of the 2018 Berwick New Cinema Award. Hill's films have been screened and exhibited internationally. 

  • Onyeka Igwe

    Onyeka Igwe is an artist-filmmaker and programmer living and working in London. Her research-based practice focuses on the physical body and geographical place as sites of cultural and political meaning. Igwe uses dance, voice, archive and text in her non-fiction video work to weave together multiple narratives both within and beyond these sites. Her work has been screened and exhibited internationally including at the 2019 International Film Festival Rotterdam.

  • Stuart Marshall

    Stuart Marshall was a founding member of London Video Arts in 1976, and was a committed advocate of British video art, as a practitioner, curator and theorist. He curated the first UK/Canadian Video Exhange in 1984 and his videos and writings were amongst the first to explore the relationship between video, television and the media. Within his later works, he explored and challenged misrepresentations of homosexuality during the AIDS epidemice of the 1980s, at a time when lesbian and gay lifestyles and sexuality were under attack as a result of Clause 28 and the media-encouraged prejudice surrounding the spread of AIDS. Towards the end of his life, working with Maya Vision, Marshall made a number of Channel 4 commissioned documentaries concerning gay identity and he continued to be a passionate campaigner for gay rights.

  • Ursula Mayer

    Ursula Mayer's single and multi-channel films are crystalline circuits of images, composed of signs borrowed from architecture, literature, politics, mythology, geology and science. Through her poetic treatment of film, Mayer interweaves myth, biopolitics and the semiotics of cinema to visualize and ruminate upon future post-human ontology.In 2014 Mayer was awarded the Derek Jarman Award.

  • Katharine Meynell

    Katharine Meynell is interested in the personal and the political, humour and feminist strategies. In addition to video installations, she creates artists' books, performances and drawings, which are often in series and mutiples. She has collaborated with Susan Johanknecht at the Gefn Press and in 2005 she completed 'It's Inside' with Alistair Skinner, a large-scale work funded by the Wellcome Trust.

  • Noor Afshan Mirza

    Noor Afshan (formerly known as Karen Mirza) and Brad Butler's multi-layered practice consists of filmmaking9drawing, installation, photography, performance, publishing and curating. Their work challenges terms such as participation, collaboration, the social turn and the the traditional roles of the artist as producer and the audience as recipient. Since 2009, Mirza and Butler have been developing a body of work entitled 'The Museum of Non Participation'. The artists have repeatedly found themselves embedded in pivotal moments of change, protest, non-alignment and debate. Experiencing such spaces of contestation both directly and through the network of art institutions, Mirza and Butler negotiate these .influences in video, photography, text and action

  • Naeem Mohaiemen

    Naeem Mohaiemen is an artist and writer who uses film, installations, and essays to explore transnational left politics after the Second World War. Mohaiemen combines autobiography and family history to explore how national borders and passports shape the lives of people in turbulent societies. His work focuses on film archives and the way their contents can be lost, fabricated and reanimated. He was nominated for the Turner Prize in 2018.

  • Uriel Orlow

    Uriel Orlow lives and works between London, Lisbon and Zurich. Orlow's practice is research-based, process-oriented and multi-disciplinary including film, photography, drawing and sound. He is known for single screen film works, lecture performances and modular, multi-media installations that focus on specific locations and micro-histories. His work is concerned with spatial manifestations of memory, blind spots of representation and forms of haunting

  • Charlotte Prodger

    Charlotte Prodger (born Bournemouth; 1974) studied at Goldsmiths College (now Goldsmiths, University of London) and The Glasgow School of Art.  Prodger explores the shifting representations of self that arise through meetings of language and technology and her works often combine video taken from YouTube with spoken text taken from internet forums and personal emails. The equipment used to play audio and video content is a vital part of Prodger’s work and she is interested in its sculptural properties, design history and associated subcultures. For each new project she reworks previous themes, images and technical paraphernalia to create a distinct visual language.

    Max the Bull Terrier Trancing shows YouTube footage of bull terriers ‘trancing’: a state that they enter into when their back is lightly stroked, for example by leaves around pot plants. In this work the vertical form of the custom made Hantarex monitor and stand become anthropomorphic in height and Prodger has previously installed the work with spoken word pieces underlining the human parallels: ‘Do you ever get this thing, I get it sometimes when I’m doing a task that involves systems and logging… It’s a sudden, very brief flash of a place from my past – not places of significance. Just a particular part of pavement on the way to school or a point on some route I’ve forgotten about. It’s not nostalgic and it’s not emotional. It’s just like co-ordinates being triggered and fired off and then it disappears again.’[1]

     

    [1]AAB,  “Charlotte Prodger” ...ment: 06 , 2015, http://journalment.org/article/aab

  • Morgan Quaintance
  • Ben Rivers

    Ben Rivers studies sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds.

  • Margaret Salmon

    Margaret Salmon lives and works in Glasgow, Scotland. She creates filmic portraits that weave together poetry and ethnography. Focusing on indiviuals and their everyday activities, her films capture the minutiae of daily life and infuse them with gentle grandeur, touching upon universal human themes. Adapting techniques drawn from various cinematic movements, such as Cinema Verite, the European Avante Garde and Itlalian Neo-Realism, Salmon's orchestrations of sound and image introduce a formal abstraction into the tradition of realist film. Her work was shown at the Venice Biennale in 2007 and the Berlin Biennale in 2010.

  • Stephen Sutcliffe

    Stephen Sutcliffe creates film collages from an extensive archive of British television, film, sound, broadcast images and spoken word recordings which he has been collecting since childhood. Often reflecting on aspects of British culture and identity, the results are melancholic, poetic and satirical amalgams which subtly tease out and critique ideas of class-consciousness and cultural authority. Through an extensive editing process Sutcliffe's works pitch sound against image to subvert predominant narratives and generate alternative readings through the juxtaposition and synchronization of visual and aural material.

  • Rehana Zaman

    Rehana Zaman (b 1982, Heckmondwike UK) is based in London, working with moving image and performance. Her work is concerned with the effect of multiple social dynamics on how individuals and groups relate. These narrative based pieces, often deadpan and neurotic, are frequently generated through conversation and collaboration with others. A driving question within Zaman’s work is how socio-political concerns, in addition to providing content, can structure how an artwork is produced.