London Open Live: Film Programme

Jonas Lund 
The Future of Something (2023) 
13:23 minutes

Rosie Gibbens 
The New Me (2022) 
6:37 minutes

Sweatmother 
Untitled (2022) 
8:45 minutes

Rita Evans  
Respondents (2024) 
10:34 minutes

Adrian Lee 
Risk Management Exercise (2022) 
5:42 minutes 

Lynn Lu 
Raisins in the Audience Dough: Final Movement (2022) 
21:51 minutes 

Babeworld 
No Sleep Just Cloud (2024) 
14:49 minutes 

The Future of Something (2023) 
13:23 minutes 

The Future of Something delves into the human anxieties framing an AI-driven world. Across the morphing vignettes of seven AI-generated human support groups, the video deftly navigates familiar fears of machinic displacement of the self through the heightened drama of parody. Seated at the height of humanity’s fears of a technological takeover, The Future of Something suggests that the real threat in the room may not be the machinic other, but something more human after all.                                                                              

Jonas Lund creates paintings, sculpture, photography, websites and performances that critically reflect on contemporary networked systems and power structures. Lund earned an MA at Piet Zwart Institute, Rotterdam (2013) and a BFA at Gerrit Rietveld Academy, Amsterdam (2009). He has had solo exhibitions at Francisco Carolinum, Linz (2022); The Photographers’ Gallery, London (2019); König Galerie, Berlin (2021); Whitechapel Gallery, London (2016); Steve Turner, Los Angeles (2016, 2015, 2014); Showroom MAMA, Rotterdam (2013);  and New Museum, New York (2012), among others. 

The New Me (2022) 
6:37 minutes

The New Me by Rosie Gibbens centres around an absurd, dystopian retro-futurist vision of consumerism, in which a corporation called ‘Ilium’ manufactures and markets pointless products to bored consumers. The New Me consists of three video works, each a surreal advertisement for a ‘life enhancing’ Ilium product. Ultimately, these products operate as self-parody as they fail in their promise to increase efficiency, enable multi-tasking and optimise the body. Embracing absurd humour, Gibbens explores the slippery overlaps between identity, labour and consumer desire.  

Rosie Gibbens works across performance, video, sculpture and photography. Gibbens studied Contemporary Art Practice at the Royal College of Art, London (2018) and Performance Design and Practice at Central Saint Martins, London (2015).  Solo shows include: Muta, Pippy Houldsworth Gallery, London (2025); Parabiosis, Arken Museum, Copenhagen (2024); The New Me, Shoreditch Arts Club, London (2023); Skin of My Teeth, Midlands Arts Centre, Birmingham (2022); and Soft Girls, Zabludowicz Collection, London (2021). Group shows include Eye Body at TJ Boulting, London (2023); The Amber Room, Matt’s Gallery, London (2023); and Are You Working Now?, National Taiwan Museum of Fine Art, Taipei (2023). 

Untitled (2022) 
8:45 minutes  

In this live performance, the artist draws on his synth methodology to synthesise a ‘woman’— as a reflection of his past self. The film is not only technically layered with tools and machines but conceptually positions the trans body as a kind of tool or machine in itself: a mechanism for protection, passing, euphoria, experimentation, and discovery. 

Referencing writer, philosopher, and curator Paul B. Preciado, who writes, “Trans bodies […] though living, speak in languages unknown to the coloniser; they have dreams psychoanalysts are unaware of,” the work gives visual form to this hidden language—one spoken by trans bodies navigating complex terrains of identity, transformation, and resistance. 

Sweatmother is a London-based artist and filmmaker. His moving image practice blends live performance, self-recorded documentation, internet fragments, and archival materials to explore and reveal queer lived experiences. His work is made for his community—to share, learn from, and find solace in sensitive representations of raw realities and obscured histories. 

Notable awards and commissions include: Protest and Demo Documentations (2019–2023); Venice Biennale Arte 2024, curated by Adriano Pedrosa, Venice (2024); Untitled, First Prize Jury, 69th Oberhausen Short Film Festival, Oberhausen (2023); Film London Artists’ Moving Image Network Fellowship (FLAMIN), London (2021–2022); and New Commission: k-punk 2021 – Post-Capitalist Desire for Mark Fisher, ICA, London (2021). 

Respondents (2024) 
10:34 minutes 

Respondents is a project that includes performance, a film and sculptures developed by Rita Evans. In collaboration with dancer Marguerite Galizia, who physically engaged with the sculptures, Evans adapted her works in response to this interaction, transforming them into choreographic sculptures. Constructed in a hand shaping process used in custom automobile manufacturing, these sculptures explore and dialogue with organic elements such as air, plants, algae, ground, skin and water.   

Rita Evans is a musician and sculptor, who makes and performs sonic sculptures. Her process involves collective inquiry and feedback methods of composing and improvising and developing spaces of multiplicity and communality.  Exhibitions and commissions include: The Museum of Modern Art, New York, Art Lab: Sound (2024-2026); Tate Britain Sensory Commission, Rock, Wobble, Pluck, London (2024); Audiograft Festival of Sonic Art, Oxford (2023); Towner Eastbourne Performance Commission, Eastbourne (2022); Tate St Ives Commission: Solo exhibitions and performances, St Ives (2022); The Bauhaus Dessau Foundation, Artist-in-Residence, with an exhibition at Haus Gropius, Germany (2021/22). Evans was awarded the Stephen Cripps’ Studio Award (2015); Arts Council England Project Grant (2025); and Canada Council for the Arts (2024).

Risk Management Exercise (2022) 
5:42 minutes 

In Risk Management Exercise, Adrian Lee explores the visual and verbal material that surrounds us by reworking and re-examining the often-overlooked trappings of our culture.  Lee’s performance film continues his investigation of Health and Safety conventions and practice.  For Risk Management Exercise a piece of choreography was composed using the 56 signs that feature a figure available from a leading signage producer. The artist moves rapidly through the positions required, whilst attempting to retain the appearance of an authority figure. As the movement becomes more and more frantic the performance starts to demonstrate its own Health and Safety requirements and need for a risk assessment. Working with diverse source materials; government health warnings, health and safety signage, ‘bureaucratic small print’, hand-written signs, brand mascots and shop fittings, Lee isolates and probes how these materials function.   

Adrian Lee is an artist and lecturer working predominantly across video, performance and sculpture. He has shown extensively, including Artnight, London (2017 & 2019); The Edinburgh Fringe, Edinburgh (2014 & 2015); Material Art Fair and Salon Acme, Mexico City (2016); Delfina Foundation, London (2015); and DJART Festival, Algiers (2014). 

Raisins in the Audience Dough: Final Movement (2022) 
21:51 minutes 

 Presented in conjunction with National Gallery Singapore’s exhibition Nam June Paik: The Future is Now, the third and final movement of Raisins in the Audience Dough features Lynn Lu and Melinda Lauw performing a series of scores to camera. Performing the scores, written by participants who previously took part in the second movement of this work, Lynn and Melinda subjected a variety of everyday objects to ‘creative misuse’ in the deadpan delivery style of Nam June Paik and Charlotte Moorman. 

Lynn Lu (PhD, AFHEA) is a visual artist from Singapore. Her research-led multidisciplinary practice explores context and site specificity, participation and collaboration, and the poetics of absurdity.  Selected exhibitions and performances include Brent Biennale, London (2025); National Gallery Singapore (2022); San Francisco Museum of Modern Art (2021); Staatlichen Kunstsammlungen Dresden (2019); Framer Framed, Amsterdam (2018); Science Gallery London (2017); Saatchi Gallery, London (2017); Palais de Tokyo, Paris (2015); Barbican, London (2015): Perth Institute of Contemporary Arts (2013); Tate Modern, London (2010); Beijing 798 Art Zone (2009); and Singapore Art Museum (2007). 

No Sleep Just Cloud (2024) 
14:49 minutes 

 No Sleep Just Cloud follows a protagonist on a mission to create the ultimate, perfect piece of work. Using semi-autobiographical narratives, the film explores the protagonist’s distractive obsessions – in this case, clouds – instead of being able to make the art. The film explores the experiences of autistic, marginalised and neurodivergent people in the creative sector and the struggle to thrive and be ‘productive’ under capitalism. 

Babeworld are an art collective based across Stoke-on-Trent and London. Babeworld’s work uses popular culture, film, installation and sound design to interrogate themes of political and societal identity, disability, access, neurodivergence and race. Utilising a tongue-in-cheek approach to serious themes, Babeworld playfully explores these subjects whilst capturing the lived experiences within the collective. Underpinning their work is an ongoing commitment to understand what it means to make, participate in, and spectate art as marginalised individuals. Past solo exhibitions include The Art House, Wakefield (2024); Level Centre, Derby (2024); Grand Union, Birmingham (2024); and Embassy Gallery, Edinburgh (2019). Select group exhibitions have taken place at Somerset House, London (2022); Southbank Centre Unlimited Festival, London (2024); British Council in China (2024); and ICA London (2019). Recent awards include Unlimited Partner Awards (2024); Unlimited Bursary Recipients (2024); and Montez Press Writers Grant (2020). 

Filming and photography of the film programme is prohibited.