The Locus+ Archive (incorporating material from the Basement Group and Projects UK) hosted at the University of Sunderland currently has two PhD posts affiliated to it and is the largest archive of time-based work in Europe. It forms a comprehensive historical overview of contemporary art practice from the early '70s to the present, covering artists' projects from a variety of British and international contexts. Here is a snapshot of the projects that have been digitized to date.
Temple of My Familiar, 1994 Nhan Duc Nguyen
Temple of My Familiar was a installation of a large (32 metres) mural using Vietnamese and Buddhist iconography depicting details of the artist's life. This included the incident in which he temporarily lost his sight as a result of a racist attack.
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The Birth Caul, 1995 Alan Moore
A performance monologue by comic book writer Alan Moore, in collaboration with composer David J (of pop group Bauhaus) and musician Tim Perkins.
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The Cinema of Machines, 1996 Steve Farrer
The Cinema of Machines, explored both the history of cinema and the artist's own history
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The Day Before You Looked Through Me, 1998 Cathy de Monchaux
The Day Before You Looked Through Me is de Monchaux's first permanent public artwork, incorporating the use of photography on a monumental scale.
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The Elsdon Mystery, 1983 John Kippin
A "thriller" movie which asks questions about the communicative possibilities of visual information.
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The End of Civilisation, 2012 Douglas Gordon
A grand piano burns in this epic film by Turner prize-winning Scottish artist Douglas Gordon.
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The Joint's Jumping, 1996 Richard Wilson
A proposal for the Baltic Flour Mill in Gateshead prior to the opening of the Baltic Centre for Contemporary Art.
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The Locus+ office, 1999 Andrew Grassie
Three paintings commissioned for a series of Locus+ Christmas cards. Tempera on paper, 14.2 x 19.7cm
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The Magpie Index, 2010 Richard Grayson
The Magpie Index is a single-screen high-definition video art-work by artist Richard Grayson, focusing on legendary singer-songwriter Roy Harper.
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