Conception and human fertility are the focus of a new documentary fiction piece


Lucy Beech's newest film continues her exploration of women's relationships with their bodies

Lucy Beech takes real-life scenarios and subtly twists them to wring out anxiety in many aesthetically appealing forms. Her films often centre around groups of women and present relationships that feel disconcertingly slippery; women's relationships to their bodies, to each other, to corporations that have similar rights to human bodies but no flesh or vulnerability.

In previous films such as Cannibals (2013), she deals with consumption, using food as a lavish tactile metaphor for the feminine body, and in Pharmakon (2016), a seductive marketing ploy evokes an evasive desire for health, vitality, fertility – it's not clear exactly what, only that its persuasive delivery by a corporate-sounding actress seems pernicious and evasive in equal measure. Beech's latest film, Reproductive Exile, on the theme of trans-national assisted conception, extends this exploration.

According to the American Society for Reproductive Medicine, 'the time has come to rethink the language of reproductive tourism and to replace it with a new vocabulary' that captures 'the considerable travails encountered in the global quest for conception.' With adverts for fertility fairs now visible across London's tube network, coinciding with Frieze, the international contemporary art fair, there is no better time to examine the outsourcing of human fertility.

Lucy Beech: Reproductive Exile, Tramway, Glasgow, Sat 1 Dec–Sun 27 Jan.

Lucy Beech: Reproductive Exile

Lucy Beech’s new film addresses the power and agency of reproductive relations, exploring female labour, visibility and the flow of bodily revenue streams in what has come to be known as ‘Reproductive Exile’.  The film follows a woman engaging in cross-border, assisted reproduction. Within this process she is confronted…