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Visions in the Nunnery – the Nunnery Gallery’s biennial festival of film and performance – is this year led by invited artists Rosie Gibbens and Onyeka Igwe, who will show work alongside 60 artists hailing from 16 different countries across the globe, including Nigeria, Argentina, Iran, Pakistan and Ukraine. The works have been selected by Gibbens and Igwe from the international open call, which this year drew 737 submissions from 59 countries. Not to be missed, Visions gives viewers the unique experience of a curated conversation of filmmakers and performers from across the world.
Rosie Gibben’s Programme 1 will feature new work by Gibbens alongside those by 37 other artists. Drawing on her interest in the absurd, the Gallery will be a smorgasbord of recorded performing bodies. Bodies pushing against their limits, becoming technologically augmented, morphing into the more-than-human or embracing the bizarre. The Nave will be transformed into a Frankenstein-style lair of animatronic corporeal sculptures and videos.
Rosie Gibben’s Programme 1 will feature new work by Gibbens alongside those by 37 other artists. Drawing on her interest in the absurd, the Gallery will be a smorgasbord of recorded performing bodies. Bodies pushing against their limits, becoming technologically augmented, morphing into the more-than-human or embracing the bizarre. The Nave will be transformed into a Frankenstein-style lair of animatronic corporeal sculptures and videos.
Programme 2
Onyeka Igwe’s Programme 2 presents her award-winning film the names have been changed, including my own and truths have been altered (2019), in which Igwe explores the story of her grandfather, the story of ‘the land’ and the story of an encounter with Nigeria from a single point in time, in a single place. The film throws the ordinary and the everyday within the archive into relief by daring to write and re-write the stories of diasporic African life against the grain of colonial history's master narratives. Showing in the Nunnery’s cinema-screen set-up alongside 23 other artists’ works the show will interrogate themes of memory, narrative, identity and the archive.
in September 2025, Igwe opened her solo exhibition as part of the Art Now programme opens at Tate Britain. In November 2025, Igwe won the Film London Jarman Award and At this stellar moment in her career.
Igwe notes:
“Visions has always been a feature on the London landscape of artist moving image and I have wanted to take part in the program for as long as I have been making work.
As it was made just before the pandemic, the names have been changed, including my own and truths have been altered, a highly personal film that tells the story of my family's origin, has rarely screened in London, my hometown so I am delighted to present it here.”
Onyeka Igwe’s Programme 2 presents her award-winning film the names have been changed, including my own and truths have been altered (2019), in which Igwe explores the story of her grandfather, the story of ‘the land’ and the story of an encounter with Nigeria from a single point in time, in a single place. The film throws the ordinary and the everyday within the archive into relief by daring to write and re-write the stories of diasporic African life against the grain of colonial history's master narratives. Showing in the Nunnery’s cinema-screen set-up alongside 23 other artists’ works the show will interrogate themes of memory, narrative, identity and the archive.
in September 2025, Igwe opened her solo exhibition as part of the Art Now programme opens at Tate Britain. In November 2025, Igwe won the Film London Jarman Award and At this stellar moment in her career.
Igwe notes:
“Visions has always been a feature on the London landscape of artist moving image and I have wanted to take part in the program for as long as I have been making work.
As it was made just before the pandemic, the names have been changed, including my own and truths have been altered, a highly personal film that tells the story of my family's origin, has rarely screened in London, my hometown so I am delighted to present it here.”
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Kamila Kuc Programme 2 event
Of What Remains: Creative Witnessing in Three Acts invites the audience into an immersive three-act evening shaped by collective live responses and reflections on the topic of loss and emotional inheritance. At the intersection of film, performance, sound and text, the evening unspools across different registers of memory – personal, historical, generational. Through drawing, reading, listening, and conversations, this event honours the silences and hauntings that shape us, and offers new ways to bear witness to what has passed through us.
Dara Waldron, Jeremy Fernando, Kate Walters and Kamila Kuc
Act One: Inheritance in Motion: Film Screening & Live Drawing
This part begins with the screening of I Was There (Kamila Kuc, Poland/UK, 2025, 13 mins), with sound by Ecka Mordecai. I Was There is a palimpsest of inherited trauma, autobiography, and reverberating histories. During the screening, artist Kate Walters will make live drawings directly into the book If Loss Were a Currency – a companion to the film, thus reanimating memory as it unfolds. The books with drawings will be hung on the gallery walls post-screening – their fragile pages of witness, free to be taken by attendees. The limited editions of the book copies with Kate’s drawings will be available for purchase at the event.
Act Two: Pages That Tremble: Live Book Readings
Ecka Mordecai, Laima Leyton, Dara Waldron, Jeremy Fernando and Kamila Kuc will read excerpts from If Loss Were a Currency, accompanied by a live sound score by Ecka. This moment activates the book as a testimonial object – its pages vibrating with embodied memory, ancestral echo, and the stammer of the unspeakable, as Kate continues to draw on the book’s pages. This section brings presence to the intimacy of articulation and the spaces around it.
Act 3: Ripples & Echoes: Collective ConversationThe evening culminates in a spontaneous conversation between the artists and the public. Drawing on ideas of active imagination, audience offerings (words, gestures, or images), and the improvisational spirit of the work, this act invites a collective inquiry. How do we hold space for what cannot be fully said? What does it mean to be both witness and recipient? How might silence and vulnerability shape the architecture of resistance.
Of What Remains: Creative Witnessing in Three Acts invites the audience into an immersive three-act evening shaped by collective live responses and reflections on the topic of loss and emotional inheritance. At the intersection of film, performance, sound and text, the evening unspools across different registers of memory – personal, historical, generational. Through drawing, reading, listening, and conversations, this event honours the silences and hauntings that shape us, and offers new ways to bear witness to what has passed through us.
Dara Waldron, Jeremy Fernando, Kate Walters and Kamila Kuc
Act One: Inheritance in Motion: Film Screening & Live Drawing
This part begins with the screening of I Was There (Kamila Kuc, Poland/UK, 2025, 13 mins), with sound by Ecka Mordecai. I Was There is a palimpsest of inherited trauma, autobiography, and reverberating histories. During the screening, artist Kate Walters will make live drawings directly into the book If Loss Were a Currency – a companion to the film, thus reanimating memory as it unfolds. The books with drawings will be hung on the gallery walls post-screening – their fragile pages of witness, free to be taken by attendees. The limited editions of the book copies with Kate’s drawings will be available for purchase at the event.
Act Two: Pages That Tremble: Live Book Readings
Ecka Mordecai, Laima Leyton, Dara Waldron, Jeremy Fernando and Kamila Kuc will read excerpts from If Loss Were a Currency, accompanied by a live sound score by Ecka. This moment activates the book as a testimonial object – its pages vibrating with embodied memory, ancestral echo, and the stammer of the unspeakable, as Kate continues to draw on the book’s pages. This section brings presence to the intimacy of articulation and the spaces around it.
Act 3: Ripples & Echoes: Collective ConversationThe evening culminates in a spontaneous conversation between the artists and the public. Drawing on ideas of active imagination, audience offerings (words, gestures, or images), and the improvisational spirit of the work, this act invites a collective inquiry. How do we hold space for what cannot be fully said? What does it mean to be both witness and recipient? How might silence and vulnerability shape the architecture of resistance.
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