Cinenova: Now Showing began in March 2015 and runs monthly. The series intends to materialise relationships between contemporary artist moving image practice and the feminist and organising legacies present in the Cinenova collection.

The format of the series is that an artist filmmaker is invited to select a film from the Cinenova collection which they would like to screen alongside a work of theirs. The October 2015 screening is selected by Cara Tolmie, Kimberley O’Neill and France-Lise McGurn who have chosen to show Space Invaders by Judith Barry and Cheap Philosophy by Ruth Novaczek alongside their own film Nos Algaes.

Judith Barry Space Invaders 1982, 8mins,

A science fantasy that maps the terrain of what might have been regarded, in the 60s, as a ‘global village’, the giant video screen of the disco, the home television and the video arcade game. But, this global community has grown so powerful that its inhabitants want to carry their own worlds with them. When that happens, what becomes of the present’…Worlds collide and pretty soon ’everyone is a star!’…Just like Andy Warhol predicted, but now it is for longer than 15 mins!’ (Judith Barry)

Ruth Novaczek Cheap Philosophy 1992, 15mins

“Esther Kahn”, my alter ego, plays Blanche Dubois, Stanley Kowalski, and many others as she battles with herself with the madness of a jealous lover. A believer in True Love and old fashioned values, Esther is nevertheless a depressed cynic, longing for romance in a cool amnesiac world. An extremely low-budget venture, Cheap Philosophy is a voice of isolation, political hopelessness, and a backlash against long years of lesbian political debate that has excluded the Jew, the drama-queen, the depressive, the diva and the romantic tragic figure. But ultimately Cheap Philosophy is self-analytical comedy, with tragic undercurrents, or vice versa… (RN.)

Cara Tolmie, Kimberley O’Neill and France-Lise McGurn Nos Algaes 2014-2015, 30mins

Nos Algas is a collaborative video work by McGurn, O’Neill & Tolmie that combines documentation from a performance at Tramway, Glasgow with fictional scenes and pre-recoded material. ‘Nos Algaes’ takes place in an invented space; the artists’ own private club-cum-bedroom-cum-stage. The content is derived from the three friends’ correspondence, where personal reflections on performance, feminism and music are exchanged alongside fictional scripts. In turn, the depiction of intimacy is complicated as personal reflections collide with a collaborative soundtrack and fragmented scenes juxtaposing ‘acted’ and ‘naturalistic’ modes of performance.