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Online Workshop: Reading and Listening: Media Literacy Lab with Jordan Lord and Tiffany Sia

Date: Sunday 24 May 2026
Time: 2-4pm BST
Online [Zoom]

Led by artists and filmmakers Jordan Lord and Tiffany Sia, this media literacy lab accompanies Lord’s exhibition “Narrative Warfare” and Sia’s film ‘Do Not Circulate’ (2022) and continues an ongoing project developed in Lord’s practice in collaboration with Sia.

The session asks how we might reframe questions of media literacy drawing on questions that have animated their shared work:

- how narratives are constructed, weaponised, and contested across documentary, news media, and state-produced imagery
- what it means to read these forms under conditions in which the production of reality itself is at stake

Starting from the notion that access practices such as audio description and captioning are themselves forms of reading, we will consider how access is both a precondition and means of media literacy.

We will examine how state powers mediate access to audiovisual documents of violence, including those that nation-states produce and circulate as instruments of domination.

- This online workshop is free but registration is required. Link in bio.
- Capacity is limited.

Live captioning and BSL interpretation are available upon request. Please contact events@lux.org.uk by Monday 19 May 2026

@jrd_lord @t1ffany4scal3

Online Workshop: Reading and Listening: Media Literacy Lab with Jordan Lord and Tiffany Sia

Date: Sunday 24 May 2026
Time: 2-4pm BST
Online [Zoom]

Led by artists and filmmakers Jordan Lord and Tiffany Sia, this media literacy lab accompanies Lord’s exhibition “Narrative Warfare” and Sia’s film ‘Do Not Circulate’ (2022) and continues an ongoing project developed in Lord’s practice in collaboration with Sia.

The session asks how we might reframe questions of media literacy drawing on questions that have animated their shared work:

- how narratives are constructed, weaponised, and contested across documentary, news media, and state-produced imagery
- what it means to read these forms under conditions in which the production of reality itself is at stake

Starting from the notion that access practices such as audio description and captioning are themselves forms of reading, we will consider how access is both a precondition and means of media literacy.

We will examine how state powers mediate access to audiovisual documents of violence, including those that nation-states produce and circulate as instruments of domination.

- This online workshop is free but registration is required. Link in bio.
- Capacity is limited.

Live captioning and BSL interpretation are available upon request. Please contact events@lux.org.uk by Monday 19 May 2026

@jrd_lord @t1ffany4scal3

Upcoming Exhibition: Jordan Lord: ‘Narrative Warfare’ from 11 April to 31 May 2026

LUX is thrilled to present a solo exhibition by artist and filmmaker Jordan Lord, featuring their exhibition premiere of the film ‘Concealed and Denied’.

‘Narrative Warfare’ draws from several years of Lord’s investigation into the structures of documentary filmmaking and media propaganda. The exhibition asks how narratives are engineered and weaponised in contemporary audiovisual culture. At its centre is ‘Concealed and Denied’ (2026), an archival documentary without archival footage. Treating access as a mode of critical analysis, the film reveals how broadcasting techniques shape public understanding.

A programme of related events and contextual materials will accompany the exhibition- stay connected for updates!

The Exhibition Opening will be on Friday 10 April, from 6-8pm. Please RSVP via the link in bio.

Commissioned by LUX and supported using public funding from The Elephant Trust.

@jrd_lord @abbypsun

Design by Take Courage @takecourage.co

Introducing ‘Sharing Strategies: Caring for Moving Image in the Margins!’ This programme of online lectures and a study day will focus on how artists’ moving image work is shared, cared for and made accessible.

Starting in June, 5 free online lectures will bring the perspectives of conservators, researchers and artist-filmmakers providing a platform to grassroots and community-led practices, and to the ways knowledge is produced collectively, often in informal, under-resourced or under-recognised settings. Speakers will include Mona Jiménez, Brian Castriota, Ann Adachi-Tasch, Michael Marlatt, Azza El-Hassan, and Annabelle Aventurin.

A study day at UCL East, in partnership with UCL’s Conservation of Contemporary Art and Media MSc programme will take place on 6 November 2026. It is open to conservators, curators, archivists, artists, students and anyone with an interest in the field and will bring together a wide range of participants for a day of shared discussion and practical reflection.

For more information, head to our website (link in bio) - and stay tuned for more updates about the first events in the programme!

‘Sharing Strategies’ is made possible with the support of the BFI Screen Heritage Fund, awarding
National Lottery funding.

Design by Kristin Metho

@britishfilminstitute @uclhoa @annabelle_ahhhh @azza.elhassan.3 @an_nkoromochi @kristinmetho #NationalLottery

Introducing ‘Sharing Strategies: Caring for Moving Image in the Margins!’ This programme of online lectures and a study day will focus on how artists’ moving image work is shared, cared for and made accessible.

Starting in June, 5 free online lectures will bring the perspectives of conservators, researchers and artist-filmmakers providing a platform to grassroots and community-led practices, and to the ways knowledge is produced collectively, often in informal, under-resourced or under-recognised settings. Speakers will include Mona Jiménez, Brian Castriota, Ann Adachi-Tasch, Michael Marlatt, Azza El-Hassan, and Annabelle Aventurin.

A study day at UCL East, in partnership with UCL’s Conservation of Contemporary Art and Media MSc programme will take place on 6 November 2026. It is open to conservators, curators, archivists, artists, students and anyone with an interest in the field and will bring together a wide range of participants for a day of shared discussion and practical reflection.

For more information, head to our website (link in bio) - and stay tuned for more updates about the first events in the programme!

‘Sharing Strategies’ is made possible with the support of the BFI Screen Heritage Fund, awarding
National Lottery funding.

Design by Kristin Metho

@britishfilminstitute @uclhoa @annabelle_ahhhh @azza.elhassan.3 @an_nkoromochi @kristinmetho #NationalLottery

Introducing ‘Sharing Strategies: Caring for Moving Image in the Margins!’ This programme of online lectures and a study day will focus on how artists’ moving image work is shared, cared for and made accessible.

Starting in June, 5 free online lectures will bring the perspectives of conservators, researchers and artist-filmmakers providing a platform to grassroots and community-led practices, and to the ways knowledge is produced collectively, often in informal, under-resourced or under-recognised settings. Speakers will include Mona Jiménez, Brian Castriota, Ann Adachi-Tasch, Michael Marlatt, Azza El-Hassan, and Annabelle Aventurin.

A study day at UCL East, in partnership with UCL’s Conservation of Contemporary Art and Media MSc programme will take place on 6 November 2026. It is open to conservators, curators, archivists, artists, students and anyone with an interest in the field and will bring together a wide range of participants for a day of shared discussion and practical reflection.

For more information, head to our website (link in bio) - and stay tuned for more updates about the first events in the programme!

‘Sharing Strategies’ is made possible with the support of the BFI Screen Heritage Fund, awarding
National Lottery funding.

Design by Kristin Metho

@britishfilminstitute @uclhoa @annabelle_ahhhh @azza.elhassan.3 @an_nkoromochi @kristinmetho #NationalLottery

Read and listen to Louise Hickman’s new text on LUX artist Jordan Lord’s work, now on our website.

This New Artist Focus essay considers Lord’s embedded access-building practice, offering insight into how captioning and audio description operate as practical, aesthetic and political forms within a wider disability arts context.

As Hickman writes: “Lord’s work is a pooling of resources that has both an aesthetic and narrative strategy. Their filmmaking practice builds captioning and audio description into their filmmaking. This commitment, present across Lord’s work, challenges the tendency to treat disability as an object of documentation, narrowly focusing on the symptoms of sickness and disability through a medical lens.”

Read via the link in our bio.

Jordan Lord’s work is distributed through LUX. To view, enquire via our website. Their exhibition ‘Narrative Warfare’ featuring their most recent work ‘Concealed and Denied’ is on at LUX until 31st May.

Image 1: Shared Resources, 2021
Image 2:  After… After… (Access), 2018
Image 3: After… After… (Access), 2018

All images courtesy of the artist.
@jrd_lord @louhicky #JordanLord #LouiseHickman #NewArtistFocus

Read and listen to Louise Hickman’s new text on LUX artist Jordan Lord’s work, now on our website.

This New Artist Focus essay considers Lord’s embedded access-building practice, offering insight into how captioning and audio description operate as practical, aesthetic and political forms within a wider disability arts context.

As Hickman writes: “Lord’s work is a pooling of resources that has both an aesthetic and narrative strategy. Their filmmaking practice builds captioning and audio description into their filmmaking. This commitment, present across Lord’s work, challenges the tendency to treat disability as an object of documentation, narrowly focusing on the symptoms of sickness and disability through a medical lens.”

Read via the link in our bio.

Jordan Lord’s work is distributed through LUX. To view, enquire via our website. Their exhibition ‘Narrative Warfare’ featuring their most recent work ‘Concealed and Denied’ is on at LUX until 31st May.

Image 1: Shared Resources, 2021
Image 2:  After… After… (Access), 2018
Image 3: After… After… (Access), 2018

All images courtesy of the artist.
@jrd_lord @louhicky #JordanLord #LouiseHickman #NewArtistFocus

Read and listen to Louise Hickman’s new text on LUX artist Jordan Lord’s work, now on our website.

This New Artist Focus essay considers Lord’s embedded access-building practice, offering insight into how captioning and audio description operate as practical, aesthetic and political forms within a wider disability arts context.

As Hickman writes: “Lord’s work is a pooling of resources that has both an aesthetic and narrative strategy. Their filmmaking practice builds captioning and audio description into their filmmaking. This commitment, present across Lord’s work, challenges the tendency to treat disability as an object of documentation, narrowly focusing on the symptoms of sickness and disability through a medical lens.”

Read via the link in our bio.

Jordan Lord’s work is distributed through LUX. To view, enquire via our website. Their exhibition ‘Narrative Warfare’ featuring their most recent work ‘Concealed and Denied’ is on at LUX until 31st May.

Image 1: Shared Resources, 2021
Image 2:  After… After… (Access), 2018
Image 3: After… After… (Access), 2018

All images courtesy of the artist.
@jrd_lord @louhicky #JordanLord #LouiseHickman #NewArtistFocus

Jordan Lord’s Library Picks!

Compiled by exhibiting artist Jordan Lord (@jrd_lord), this reading list offers insight into their favourite reads from the LUX Library.

Bringing together essays, theory, and radical texts, the list explores themes including ‘liveness’ in performance and moving image, access as a tool of protest, queer theory, and authority in broadcasting.

Selected titles include:
- Here Is Information. Mobilise. Ian White, 2016
- Turn Illness Into a Weapon, SPK, 1993
- Touching Feeling, Eve Kosofsky Sedgwick, 2003
- Feedback: Television Against Democracy, David Joselit, 2007

These publications are available in the LUX Library, displayed behind the sofa. Visit before or after your exhibition experience of ‘Narrative Warfare’ — open Friday–Sunday, 12–5pm.

Jordan Lord’s Library Picks!

Compiled by exhibiting artist Jordan Lord (@jrd_lord), this reading list offers insight into their favourite reads from the LUX Library.

Bringing together essays, theory, and radical texts, the list explores themes including ‘liveness’ in performance and moving image, access as a tool of protest, queer theory, and authority in broadcasting.

Selected titles include:
- Here Is Information. Mobilise. Ian White, 2016
- Turn Illness Into a Weapon, SPK, 1993
- Touching Feeling, Eve Kosofsky Sedgwick, 2003
- Feedback: Television Against Democracy, David Joselit, 2007

These publications are available in the LUX Library, displayed behind the sofa. Visit before or after your exhibition experience of ‘Narrative Warfare’ — open Friday–Sunday, 12–5pm.

Jordan Lord’s Library Picks!

Compiled by exhibiting artist Jordan Lord (@jrd_lord), this reading list offers insight into their favourite reads from the LUX Library.

Bringing together essays, theory, and radical texts, the list explores themes including ‘liveness’ in performance and moving image, access as a tool of protest, queer theory, and authority in broadcasting.

Selected titles include:
- Here Is Information. Mobilise. Ian White, 2016
- Turn Illness Into a Weapon, SPK, 1993
- Touching Feeling, Eve Kosofsky Sedgwick, 2003
- Feedback: Television Against Democracy, David Joselit, 2007

These publications are available in the LUX Library, displayed behind the sofa. Visit before or after your exhibition experience of ‘Narrative Warfare’ — open Friday–Sunday, 12–5pm.

Jordan Lord’s Library Picks!

Compiled by exhibiting artist Jordan Lord (@jrd_lord), this reading list offers insight into their favourite reads from the LUX Library.

Bringing together essays, theory, and radical texts, the list explores themes including ‘liveness’ in performance and moving image, access as a tool of protest, queer theory, and authority in broadcasting.

Selected titles include:
- Here Is Information. Mobilise. Ian White, 2016
- Turn Illness Into a Weapon, SPK, 1993
- Touching Feeling, Eve Kosofsky Sedgwick, 2003
- Feedback: Television Against Democracy, David Joselit, 2007

These publications are available in the LUX Library, displayed behind the sofa. Visit before or after your exhibition experience of ‘Narrative Warfare’ — open Friday–Sunday, 12–5pm.

Jordan Lord’s Library Picks!

Compiled by exhibiting artist Jordan Lord (@jrd_lord), this reading list offers insight into their favourite reads from the LUX Library.

Bringing together essays, theory, and radical texts, the list explores themes including ‘liveness’ in performance and moving image, access as a tool of protest, queer theory, and authority in broadcasting.

Selected titles include:
- Here Is Information. Mobilise. Ian White, 2016
- Turn Illness Into a Weapon, SPK, 1993
- Touching Feeling, Eve Kosofsky Sedgwick, 2003
- Feedback: Television Against Democracy, David Joselit, 2007

These publications are available in the LUX Library, displayed behind the sofa. Visit before or after your exhibition experience of ‘Narrative Warfare’ — open Friday–Sunday, 12–5pm.

Join us at 6pm on 28 May for Fine Art Shorts, a screening of student moving image. This celebration of experimental, ambitious and innovative screen based works is kindly supported by @stanleypicker and @luxmovingimage. All welcome!

All works will be screened online via the Stanley Picker Gallery from 29 May.

Lux have generously invited some of our students for a tour of their space, a film screening, and a Q and A on professional development and distribution.

Thank you both!!

Students: You have until 14 May to submit, don't miss out.

LUX LIBRARY STAFF PICK 📖

Zong!, M. NourbeSe Philip, 2008, is artist and LUX worker Maryam Ojikutu’s (@marojiyam) first selection from the poetry collection in the LUX Library.

‘Zong!’ is a book-length poem detailing the events of the Zong massacre in 1781, in which over 120 enslaved Africans were thrown overboard en route to Jamaica by enslavers attempting to claim insurance for what they deemed “cargo lost.”

The words used in the book are drawn directly from the only extant public document related to the massacre: the legal case between the insurers and the enslavers, known as Gregson vs Gilbert.

“‘Zong!’ explodes the coded, documented silence of the historical text to become an anti-narrative lament that tells the story of this haunting and tragic massacre: it cannot be told yet must be told; it can only be told by not telling.”

“A hugely important text, and a homage to those who lost their lives in this atrocity, I chose this publication because of its anti-narrative approach conveyed through the abstraction of written form and text on the page. ’Zong!’ is one of the first publications I encountered that treated words as material where abstraction, redaction can be utilized in order to achieve multiple purposes and create new ways of reading and retelling. The publication had done what I had been trying to do in my own practice for years.

‘Zong!’ acts as a historical artefact while also breaking the boundaries of poetry and written form in order to speak to lives lost through disaster. It asks: how do you speak to what no longer exists? What cannot be explained or defined? How do you write towards the intangible—and, in doing so, how might you bring back the dead in order to lay them to rest?”

You can find this publication, along with more poetry books, DVDs, and our online collection, at the LUX Library. The library is open Friday–Sunday, 12–5pm.

LUX LIBRARY STAFF PICK 📖

Zong!, M. NourbeSe Philip, 2008, is artist and LUX worker Maryam Ojikutu’s (@marojiyam) first selection from the poetry collection in the LUX Library.

‘Zong!’ is a book-length poem detailing the events of the Zong massacre in 1781, in which over 120 enslaved Africans were thrown overboard en route to Jamaica by enslavers attempting to claim insurance for what they deemed “cargo lost.”

The words used in the book are drawn directly from the only extant public document related to the massacre: the legal case between the insurers and the enslavers, known as Gregson vs Gilbert.

“‘Zong!’ explodes the coded, documented silence of the historical text to become an anti-narrative lament that tells the story of this haunting and tragic massacre: it cannot be told yet must be told; it can only be told by not telling.”

“A hugely important text, and a homage to those who lost their lives in this atrocity, I chose this publication because of its anti-narrative approach conveyed through the abstraction of written form and text on the page. ’Zong!’ is one of the first publications I encountered that treated words as material where abstraction, redaction can be utilized in order to achieve multiple purposes and create new ways of reading and retelling. The publication had done what I had been trying to do in my own practice for years.

‘Zong!’ acts as a historical artefact while also breaking the boundaries of poetry and written form in order to speak to lives lost through disaster. It asks: how do you speak to what no longer exists? What cannot be explained or defined? How do you write towards the intangible—and, in doing so, how might you bring back the dead in order to lay them to rest?”

You can find this publication, along with more poetry books, DVDs, and our online collection, at the LUX Library. The library is open Friday–Sunday, 12–5pm.

LUX LIBRARY STAFF PICK 📖

Zong!, M. NourbeSe Philip, 2008, is artist and LUX worker Maryam Ojikutu’s (@marojiyam) first selection from the poetry collection in the LUX Library.

‘Zong!’ is a book-length poem detailing the events of the Zong massacre in 1781, in which over 120 enslaved Africans were thrown overboard en route to Jamaica by enslavers attempting to claim insurance for what they deemed “cargo lost.”

The words used in the book are drawn directly from the only extant public document related to the massacre: the legal case between the insurers and the enslavers, known as Gregson vs Gilbert.

“‘Zong!’ explodes the coded, documented silence of the historical text to become an anti-narrative lament that tells the story of this haunting and tragic massacre: it cannot be told yet must be told; it can only be told by not telling.”

“A hugely important text, and a homage to those who lost their lives in this atrocity, I chose this publication because of its anti-narrative approach conveyed through the abstraction of written form and text on the page. ’Zong!’ is one of the first publications I encountered that treated words as material where abstraction, redaction can be utilized in order to achieve multiple purposes and create new ways of reading and retelling. The publication had done what I had been trying to do in my own practice for years.

‘Zong!’ acts as a historical artefact while also breaking the boundaries of poetry and written form in order to speak to lives lost through disaster. It asks: how do you speak to what no longer exists? What cannot be explained or defined? How do you write towards the intangible—and, in doing so, how might you bring back the dead in order to lay them to rest?”

You can find this publication, along with more poetry books, DVDs, and our online collection, at the LUX Library. The library is open Friday–Sunday, 12–5pm.

LUX LIBRARY STAFF PICK 📖

Zong!, M. NourbeSe Philip, 2008, is artist and LUX worker Maryam Ojikutu’s (@marojiyam) first selection from the poetry collection in the LUX Library.

‘Zong!’ is a book-length poem detailing the events of the Zong massacre in 1781, in which over 120 enslaved Africans were thrown overboard en route to Jamaica by enslavers attempting to claim insurance for what they deemed “cargo lost.”

The words used in the book are drawn directly from the only extant public document related to the massacre: the legal case between the insurers and the enslavers, known as Gregson vs Gilbert.

“‘Zong!’ explodes the coded, documented silence of the historical text to become an anti-narrative lament that tells the story of this haunting and tragic massacre: it cannot be told yet must be told; it can only be told by not telling.”

“A hugely important text, and a homage to those who lost their lives in this atrocity, I chose this publication because of its anti-narrative approach conveyed through the abstraction of written form and text on the page. ’Zong!’ is one of the first publications I encountered that treated words as material where abstraction, redaction can be utilized in order to achieve multiple purposes and create new ways of reading and retelling. The publication had done what I had been trying to do in my own practice for years.

‘Zong!’ acts as a historical artefact while also breaking the boundaries of poetry and written form in order to speak to lives lost through disaster. It asks: how do you speak to what no longer exists? What cannot be explained or defined? How do you write towards the intangible—and, in doing so, how might you bring back the dead in order to lay them to rest?”

You can find this publication, along with more poetry books, DVDs, and our online collection, at the LUX Library. The library is open Friday–Sunday, 12–5pm.

“Screen Dialogs” invites art to meet film.
An art and film program by Kunsthalle Basel at STADTKINO BASEL

This edition presents “The Last Angel of History,” a film essay by John Akomfrah, in which Afrofuturist and Afropessimist perspectives on history, memory, and the future unfold.

A discussion will follow the screening, exploring themes and questions from the film and the exhibition.

The evening is moderated by Ananda Jade Schmidt @ananda.jadee in conversation with Serafina Andrew @serafinaandrew.

Thurs, 07.05.26 | 6–7:30 p.m.
Screen Dialogs – Dominique White
STADTKINO BASEL, tickets available online via www.stadtkinobasel.ch or at the box office

Credits:
filmstill "The Last Angel of History" by @akomfrahjohn
Courtesy of John Akomfrah and LUX @luxmovingimage

“Screen Dialogs” invites art to meet film.
An art and film program by Kunsthalle Basel at STADTKINO BASEL

This edition presents “The Last Angel of History,” a film essay by John Akomfrah, in which Afrofuturist and Afropessimist perspectives on history, memory, and the future unfold.

A discussion will follow the screening, exploring themes and questions from the film and the exhibition.

The evening is moderated by Ananda Jade Schmidt @ananda.jadee in conversation with Serafina Andrew @serafinaandrew.

Thurs, 07.05.26 | 6–7:30 p.m.
Screen Dialogs – Dominique White
STADTKINO BASEL, tickets available online via www.stadtkinobasel.ch or at the box office

Credits:
filmstill "The Last Angel of History" by @akomfrahjohn
Courtesy of John Akomfrah and LUX @luxmovingimage

“Screen Dialogs” invites art to meet film.
An art and film program by Kunsthalle Basel at STADTKINO BASEL

This edition presents “The Last Angel of History,” a film essay by John Akomfrah, in which Afrofuturist and Afropessimist perspectives on history, memory, and the future unfold.

A discussion will follow the screening, exploring themes and questions from the film and the exhibition.

The evening is moderated by Ananda Jade Schmidt @ananda.jadee in conversation with Serafina Andrew @serafinaandrew.

Thurs, 07.05.26 | 6–7:30 p.m.
Screen Dialogs – Dominique White
STADTKINO BASEL, tickets available online via www.stadtkinobasel.ch or at the box office

Credits:
filmstill "The Last Angel of History" by @akomfrahjohn
Courtesy of John Akomfrah and LUX @luxmovingimage

“Screen Dialogs” invites art to meet film.
An art and film program by Kunsthalle Basel at STADTKINO BASEL

This edition presents “The Last Angel of History,” a film essay by John Akomfrah, in which Afrofuturist and Afropessimist perspectives on history, memory, and the future unfold.

A discussion will follow the screening, exploring themes and questions from the film and the exhibition.

The evening is moderated by Ananda Jade Schmidt @ananda.jadee in conversation with Serafina Andrew @serafinaandrew.

Thurs, 07.05.26 | 6–7:30 p.m.
Screen Dialogs – Dominique White
STADTKINO BASEL, tickets available online via www.stadtkinobasel.ch or at the box office

Credits:
filmstill "The Last Angel of History" by @akomfrahjohn
Courtesy of John Akomfrah and LUX @luxmovingimage

“Screen Dialogs” invites art to meet film.
An art and film program by Kunsthalle Basel at STADTKINO BASEL

This edition presents “The Last Angel of History,” a film essay by John Akomfrah, in which Afrofuturist and Afropessimist perspectives on history, memory, and the future unfold.

A discussion will follow the screening, exploring themes and questions from the film and the exhibition.

The evening is moderated by Ananda Jade Schmidt @ananda.jadee in conversation with Serafina Andrew @serafinaandrew.

Thurs, 07.05.26 | 6–7:30 p.m.
Screen Dialogs – Dominique White
STADTKINO BASEL, tickets available online via www.stadtkinobasel.ch or at the box office

Credits:
filmstill "The Last Angel of History" by @akomfrahjohn
Courtesy of John Akomfrah and LUX @luxmovingimage

Jordan Lord: ‘Narrative Warfare’ continues this weekend!

A glimpse into the installation view, featuring Concealed and Denied and Make America Sleep Again (A) & (B). Come by this weekend (12–5pm) to experience the work in person.

Concealed and Denied
HD video, 35:28
Concealed and Denied is an archival documentary (without archival footage) tracing the rise of an American right-wing propagandist—from “leftist documentary filmmaker” to Republican operative.

Make America Sleep Again (A) and (B)
Two video and web installations built from a series of 12 advertisements aired on Fox News (2018–present), promising miracle cures, pain relief, and care.
The left channel presents the ads with open captions. The right channel offers captioned audio descriptions of each sound, image, and editing decision, alongside analysis of their audiovisual strategies.

Opening Hours:
Friday-Sunday, 12pm-5pm

Photo: Rob Harris

Jordan Lord: ‘Narrative Warfare’ continues this weekend!

A glimpse into the installation view, featuring Concealed and Denied and Make America Sleep Again (A) & (B). Come by this weekend (12–5pm) to experience the work in person.

Concealed and Denied
HD video, 35:28
Concealed and Denied is an archival documentary (without archival footage) tracing the rise of an American right-wing propagandist—from “leftist documentary filmmaker” to Republican operative.

Make America Sleep Again (A) and (B)
Two video and web installations built from a series of 12 advertisements aired on Fox News (2018–present), promising miracle cures, pain relief, and care.
The left channel presents the ads with open captions. The right channel offers captioned audio descriptions of each sound, image, and editing decision, alongside analysis of their audiovisual strategies.

Opening Hours:
Friday-Sunday, 12pm-5pm

Photo: Rob Harris

Jordan Lord: ‘Narrative Warfare’ continues this weekend!

A glimpse into the installation view, featuring Concealed and Denied and Make America Sleep Again (A) & (B). Come by this weekend (12–5pm) to experience the work in person.

Concealed and Denied
HD video, 35:28
Concealed and Denied is an archival documentary (without archival footage) tracing the rise of an American right-wing propagandist—from “leftist documentary filmmaker” to Republican operative.

Make America Sleep Again (A) and (B)
Two video and web installations built from a series of 12 advertisements aired on Fox News (2018–present), promising miracle cures, pain relief, and care.
The left channel presents the ads with open captions. The right channel offers captioned audio descriptions of each sound, image, and editing decision, alongside analysis of their audiovisual strategies.

Opening Hours:
Friday-Sunday, 12pm-5pm

Photo: Rob Harris

Jordan Lord: ‘Narrative Warfare’ continues this weekend!

A glimpse into the installation view, featuring Concealed and Denied and Make America Sleep Again (A) & (B). Come by this weekend (12–5pm) to experience the work in person.

Concealed and Denied
HD video, 35:28
Concealed and Denied is an archival documentary (without archival footage) tracing the rise of an American right-wing propagandist—from “leftist documentary filmmaker” to Republican operative.

Make America Sleep Again (A) and (B)
Two video and web installations built from a series of 12 advertisements aired on Fox News (2018–present), promising miracle cures, pain relief, and care.
The left channel presents the ads with open captions. The right channel offers captioned audio descriptions of each sound, image, and editing decision, alongside analysis of their audiovisual strategies.

Opening Hours:
Friday-Sunday, 12pm-5pm

Photo: Rob Harris

Jordan Lord: ‘Narrative Warfare’ continues this weekend!

A glimpse into the installation view, featuring Concealed and Denied and Make America Sleep Again (A) & (B). Come by this weekend (12–5pm) to experience the work in person.

Concealed and Denied
HD video, 35:28
Concealed and Denied is an archival documentary (without archival footage) tracing the rise of an American right-wing propagandist—from “leftist documentary filmmaker” to Republican operative.

Make America Sleep Again (A) and (B)
Two video and web installations built from a series of 12 advertisements aired on Fox News (2018–present), promising miracle cures, pain relief, and care.
The left channel presents the ads with open captions. The right channel offers captioned audio descriptions of each sound, image, and editing decision, alongside analysis of their audiovisual strategies.

Opening Hours:
Friday-Sunday, 12pm-5pm

Photo: Rob Harris

LIBRARY STAFF PICKS 📖

First up, Artist & LUX worker @maz_murray picks WAIT FOR ME AT THE BOTTOM OF THE POOL: The Writings of Jack Smith, Edward Leffingwell & J Hoberman, 1997 - from our Artist Monograph category.

‘Artist monographs are books which highlight the work of one artist - I picked this book WAIT FOR ME AT THE BOTTOM OF THE POOL to show the variety in this category. It’s a posthumous collection of Jack Smith’s writings - film criticism, performance scripts, stories, interviews and ephemera - writings which defy the very categorisations I’ve just laid out. They’ve been collected by J. Hoberman and Edward Leffingwell from sources such as Film Culture, The Village Voice, Amiri Baraka and Diane Di Prima’s newspaper The Floating Bear, and Smith’s unpublished works found after his death. Penny Arcade attempted to preserve Smith’s transformed apartment with his works inside, but was thwarted by one of Smith’s main nemeses in life - the landlord.

I first heard of Jack Smith the way many people do: through his 1963 cult classic ‘Flaming Creatures’ the very low budget explicit chaotic adventure which crystallized early conceptions of ‘camp’. I’d seen cloudy snippets over the years but first saw it in full at the ICA cinema in 2022. I was taken by its reverse-stock black and white aesthetic, DIY production design and ambiguously gendered performers. I felt challenged by its frenzied descent into sexual violence and apocalytpic crescendo. The film draws from lipstick commericals, Hollywood Orientalism, vampire flicks and the star persona of Marilyn Monroe. This grab-bag mode mixing the sacred & the profane/high & low culture/canonised Classic & fleeting contemporary, is now commonplace enough that I was surprised to be so excited and energised by the writings in this book.

You can read queasy metaphysical smut, scathing critique of US empire, dispatches from a prison abolition protest, the case for Maria Montez and his failed funding application for a One Thousand and One Nights adaptation.’

You can find this book & many more at LUX Library, Open every Friday 12-5pm, as well as Saturday & Sundays during the exhibition period.

LIBRARY STAFF PICKS 📖

First up, Artist & LUX worker @maz_murray picks WAIT FOR ME AT THE BOTTOM OF THE POOL: The Writings of Jack Smith, Edward Leffingwell & J Hoberman, 1997 - from our Artist Monograph category.

‘Artist monographs are books which highlight the work of one artist - I picked this book WAIT FOR ME AT THE BOTTOM OF THE POOL to show the variety in this category. It’s a posthumous collection of Jack Smith’s writings - film criticism, performance scripts, stories, interviews and ephemera - writings which defy the very categorisations I’ve just laid out. They’ve been collected by J. Hoberman and Edward Leffingwell from sources such as Film Culture, The Village Voice, Amiri Baraka and Diane Di Prima’s newspaper The Floating Bear, and Smith’s unpublished works found after his death. Penny Arcade attempted to preserve Smith’s transformed apartment with his works inside, but was thwarted by one of Smith’s main nemeses in life - the landlord.

I first heard of Jack Smith the way many people do: through his 1963 cult classic ‘Flaming Creatures’ the very low budget explicit chaotic adventure which crystallized early conceptions of ‘camp’. I’d seen cloudy snippets over the years but first saw it in full at the ICA cinema in 2022. I was taken by its reverse-stock black and white aesthetic, DIY production design and ambiguously gendered performers. I felt challenged by its frenzied descent into sexual violence and apocalytpic crescendo. The film draws from lipstick commericals, Hollywood Orientalism, vampire flicks and the star persona of Marilyn Monroe. This grab-bag mode mixing the sacred & the profane/high & low culture/canonised Classic & fleeting contemporary, is now commonplace enough that I was surprised to be so excited and energised by the writings in this book.

You can read queasy metaphysical smut, scathing critique of US empire, dispatches from a prison abolition protest, the case for Maria Montez and his failed funding application for a One Thousand and One Nights adaptation.’

You can find this book & many more at LUX Library, Open every Friday 12-5pm, as well as Saturday & Sundays during the exhibition period.

LIBRARY STAFF PICKS 📖

First up, Artist & LUX worker @maz_murray picks WAIT FOR ME AT THE BOTTOM OF THE POOL: The Writings of Jack Smith, Edward Leffingwell & J Hoberman, 1997 - from our Artist Monograph category.

‘Artist monographs are books which highlight the work of one artist - I picked this book WAIT FOR ME AT THE BOTTOM OF THE POOL to show the variety in this category. It’s a posthumous collection of Jack Smith’s writings - film criticism, performance scripts, stories, interviews and ephemera - writings which defy the very categorisations I’ve just laid out. They’ve been collected by J. Hoberman and Edward Leffingwell from sources such as Film Culture, The Village Voice, Amiri Baraka and Diane Di Prima’s newspaper The Floating Bear, and Smith’s unpublished works found after his death. Penny Arcade attempted to preserve Smith’s transformed apartment with his works inside, but was thwarted by one of Smith’s main nemeses in life - the landlord.

I first heard of Jack Smith the way many people do: through his 1963 cult classic ‘Flaming Creatures’ the very low budget explicit chaotic adventure which crystallized early conceptions of ‘camp’. I’d seen cloudy snippets over the years but first saw it in full at the ICA cinema in 2022. I was taken by its reverse-stock black and white aesthetic, DIY production design and ambiguously gendered performers. I felt challenged by its frenzied descent into sexual violence and apocalytpic crescendo. The film draws from lipstick commericals, Hollywood Orientalism, vampire flicks and the star persona of Marilyn Monroe. This grab-bag mode mixing the sacred & the profane/high & low culture/canonised Classic & fleeting contemporary, is now commonplace enough that I was surprised to be so excited and energised by the writings in this book.

You can read queasy metaphysical smut, scathing critique of US empire, dispatches from a prison abolition protest, the case for Maria Montez and his failed funding application for a One Thousand and One Nights adaptation.’

You can find this book & many more at LUX Library, Open every Friday 12-5pm, as well as Saturday & Sundays during the exhibition period.

LIBRARY STAFF PICKS 📖

First up, Artist & LUX worker @maz_murray picks WAIT FOR ME AT THE BOTTOM OF THE POOL: The Writings of Jack Smith, Edward Leffingwell & J Hoberman, 1997 - from our Artist Monograph category.

‘Artist monographs are books which highlight the work of one artist - I picked this book WAIT FOR ME AT THE BOTTOM OF THE POOL to show the variety in this category. It’s a posthumous collection of Jack Smith’s writings - film criticism, performance scripts, stories, interviews and ephemera - writings which defy the very categorisations I’ve just laid out. They’ve been collected by J. Hoberman and Edward Leffingwell from sources such as Film Culture, The Village Voice, Amiri Baraka and Diane Di Prima’s newspaper The Floating Bear, and Smith’s unpublished works found after his death. Penny Arcade attempted to preserve Smith’s transformed apartment with his works inside, but was thwarted by one of Smith’s main nemeses in life - the landlord.

I first heard of Jack Smith the way many people do: through his 1963 cult classic ‘Flaming Creatures’ the very low budget explicit chaotic adventure which crystallized early conceptions of ‘camp’. I’d seen cloudy snippets over the years but first saw it in full at the ICA cinema in 2022. I was taken by its reverse-stock black and white aesthetic, DIY production design and ambiguously gendered performers. I felt challenged by its frenzied descent into sexual violence and apocalytpic crescendo. The film draws from lipstick commericals, Hollywood Orientalism, vampire flicks and the star persona of Marilyn Monroe. This grab-bag mode mixing the sacred & the profane/high & low culture/canonised Classic & fleeting contemporary, is now commonplace enough that I was surprised to be so excited and energised by the writings in this book.

You can read queasy metaphysical smut, scathing critique of US empire, dispatches from a prison abolition protest, the case for Maria Montez and his failed funding application for a One Thousand and One Nights adaptation.’

You can find this book & many more at LUX Library, Open every Friday 12-5pm, as well as Saturday & Sundays during the exhibition period.

LIBRARY STAFF PICKS 📖

First up, Artist & LUX worker @maz_murray picks WAIT FOR ME AT THE BOTTOM OF THE POOL: The Writings of Jack Smith, Edward Leffingwell & J Hoberman, 1997 - from our Artist Monograph category.

‘Artist monographs are books which highlight the work of one artist - I picked this book WAIT FOR ME AT THE BOTTOM OF THE POOL to show the variety in this category. It’s a posthumous collection of Jack Smith’s writings - film criticism, performance scripts, stories, interviews and ephemera - writings which defy the very categorisations I’ve just laid out. They’ve been collected by J. Hoberman and Edward Leffingwell from sources such as Film Culture, The Village Voice, Amiri Baraka and Diane Di Prima’s newspaper The Floating Bear, and Smith’s unpublished works found after his death. Penny Arcade attempted to preserve Smith’s transformed apartment with his works inside, but was thwarted by one of Smith’s main nemeses in life - the landlord.

I first heard of Jack Smith the way many people do: through his 1963 cult classic ‘Flaming Creatures’ the very low budget explicit chaotic adventure which crystallized early conceptions of ‘camp’. I’d seen cloudy snippets over the years but first saw it in full at the ICA cinema in 2022. I was taken by its reverse-stock black and white aesthetic, DIY production design and ambiguously gendered performers. I felt challenged by its frenzied descent into sexual violence and apocalytpic crescendo. The film draws from lipstick commericals, Hollywood Orientalism, vampire flicks and the star persona of Marilyn Monroe. This grab-bag mode mixing the sacred & the profane/high & low culture/canonised Classic & fleeting contemporary, is now commonplace enough that I was surprised to be so excited and energised by the writings in this book.

You can read queasy metaphysical smut, scathing critique of US empire, dispatches from a prison abolition protest, the case for Maria Montez and his failed funding application for a One Thousand and One Nights adaptation.’

You can find this book & many more at LUX Library, Open every Friday 12-5pm, as well as Saturday & Sundays during the exhibition period.

We are extending the deadline to apply for a Trustee Role at LUX to 11 May!

We are looking for Trustees with expertise in Legal or Fundraising; a Gallerist or collector with experience in artists’ moving-image practice or someone with senior level expertise in digital, IT and new technologies.

We are also still looking for a LUX Artist to join the board!

We’re keen to hear from people who are passionate about contemporary art and artists’ moving-image, committed to supporting artists, and interested in contributing strategically to LUX’s next chapter.

If you would like to play a key role in guiding our mission and vision, we’d love to hear from you.

Link in bio for more info & how to apply.

Image: Lis Rhodes, ‘Light Music’ (1975). Installation: ‘Light Beam: Projected Sculpture, Exposed Cinema’, Centro de Arte Oliva, 2022.

Did you know the LUX Library is now open every weekend?

With Jordan Lords’ solo exhibition ‘Narrative Warfare’ ongoing, the library will now be open Friday - Sunday, 12pm - 5pm.

Here is a mini tour to overview how to make the most of your visit! Check out the Library section of the linktree in our bio to find out more.