Two US premieres!
In-person: Margaret Salmon (in town from Glasgow, Scotland!)
Tickets: $12 general, $8 students/seniors, $0 Filmforum members.
Filmforum is delighted to host the Glasgow-based filmmaker Margaret Salmon in her first los Angeles screening with the US premieres of two of her latest films! Winner of the inaugural MaxMara Art Prize for Women in 2006, and working from a strong feminist perspective, Salmon uses celluloid to film beautiful studies of gender, intimacy, labor, and more. The two we are screening are recent studies of gender roles and gender performance in work and play, in contemporary Britain.
Margaret Salmon (b. 1975, New York) lives and works in Glasgow. Concerned with a shifting constellation of relations, such as those between camera and subject, human and animal, or autobiography and ethnography, Margaret Salmon’s films often examine the gendered, emotive dynamics of social interactions and representational forms.
Solo exhibitions of her work have been held at institutions including DCA (2018/19), Tramway (2018) Staatsgalerie Stuttgart (2015); Contemporary Art Museum St. Louis, USA (2011); Witte de With Centre for Contemporary Art, Rotterdam (2007); Whitechapel Art Gallery, London (2007) and Collective Gallery, Edinburgh (2006). Her work has been featured in film festivals and major international survey exhibitions, including the British Art Show 9 (2021/22), Glasgow International (2021), Berlin Biennale (2010) and Venice Biennale (2007) London Film Festival (2018, 2016, 2014). Salmon won the inaugural MaxMara Art Prize for Women in 2006, was shortlisted for the Jarman Award 2018 and the 2019 Margaret Tait Award.
Some articles on her work:
Icarus (after Amelia)
United Kingdom, 2021, 58 minutes, Colour, Stereo, 4:3
Original format: 35mm Film
Icarus (after Amelia) is a gendered labor study. Shot on 35mm color film and beginning in the clouds above the city of Glasgow and continuing to the workplace below, this film is a meditation on ideologies of work; on fixed perspectives, horizons, love, and theoretical determinants. It presents an introduction to feminist economic analysis alongside collaborations with Glaswegian women including musician Tracyanne Campbell, Professor Sara Cantillon, writer Maria Fusco and workers from local businesses and social enterprises including Govan HELP, Morris & Spottiswood and Starter Packs Glasgow. First and foremost a deconstruction of contemporary life through the lens of feminist economic theory, Icarus (after Amelia) is an effort to present audiences with an emotive, intuitive discussion of value, production and hope within the ‘family’ and wider community in Britain. Responding to research and relationships through an intimate process of making and discussion, this body of work traces and archives a period of dramatic change in the UK in 2020/21.
“Filmed during the extended lockdown period – between March 2020 and May 2021 – in and around Govan, Glasgow, Icarus (after Amelia) is a quasi-anthropological study of female labour in contemporary Britain. Against the backdrop of a pandemic which has exacerbated gender inequality, Margaret Salmon uses feminist economic theory to draw attention to gender disparities in waged and unpaid labour – and more broadly to the gendered bias of traditional economic principles. Salmon’s 35mm film portraits of a range of settings including a dentist’s practice, a food bank, a hairdresser’s, a playground, and homes combine the rigour of sociological observation and the intimacy of a closeness to her subjects and subject matter. Inhabited by the spirit of Amelia Earhart, the film is punctuated with images of flight. On its dreamy soundtrack we hear Tracyanne Campbell and Donna Maciocia sing “We are going to make it in a man’s world,” almost like a mantra.” – Open City Documentary Festival, https://opencitylondon.com/events/opening-night-icarus-inner-outer-space/
"Icarus (after Amelia) attends precisely to the interconnected questions of, on the one hand, the organisation of production and, on the other, the determination of economic value. The film opens with Sara Cantillon, Professor of Gender and Economics and Director of the Wise Centre for Economic Justice at Glasgow Caledonian College, presenting a summary of feminist economics. Cantillon explains the gendered division of labour, the devaluation of household work and the work of feminist economics to redefine this work as productive within a political economy. This is a process of learning. The artist – and by extension the audience – watches Cantillon lecture from a laptop set up on a desk. Then Salmon picks up where Cantillon leaves off, elaborating on the misconception of freedom of choice within the relations of production. A woman is shown juggling as another, younger, voice begins to speak. Although initially didactic in its presentation, Icarus (after Amelia) is not simply a film about feminist economic theory. It is a work structured by it as well. Salmon studies how gender is implicated in production as she stages the complex relationship between labour and visibility." - Laura Guy, The Cinema of Ideas, 23 Sept 2021 https://cinemaofideas.org.uk/writings/margaret-salmons-icarus-after-amel...
Boy (winter) United Kingdom, 2022, 32 minutes, B&W, Stereo, 4:3
Original format: 35mm Film
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.