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Beatrice Gibson (born 1978) is an artist based in London. Her practice concerns the politics and poetics of everyday sites and spaces within and through the territory of the urban. Working in diverse mediums from text, to performance, to film, her practice is site specific, research based and participatory. Recent pieces have explored sociality through sound, investigating aural dimensions of the relational. Referencing and employing the methodologies of experimental film and experimental music practice (from error to improvisation) these works touch upon a multiplicity of themes, from the musicality of speech and the theatricality of the everyday, to conflations of the factual and the fictional, the impossibility of the document and the problem of representation. Recent projects include taxi_onomy (2005-6) an art architecture collaboration with architect Celine Condorelli, supported by Arts Council England, British Council, ‘if the route:’ The Great learning of london [A Taxi Opera], (2007) developed in collaboration with musician and composer Jamie McCarthy, partnered by ResonanceFm, Studio Voltaire, London and funded by Arts Council England and A Necessary Music (2008) developed in collaboration with composer Alex Waterman and funded by the Graham Foundation for Art and Architecture and Arts Council England. Gibson was a studio artist in residence at the Whitney Museum of American Art ISP, during 2008, is currently a doctoral candidate at the Centre for Research Architecture, Goldsmiths, with Eyal Weizman.

In this interview LUX artist Beatrice Gibson discusses her new film The Futures Getting Old Like The Rest Of Us, a collaboration with writer George Clark.

The film is set in an older people's care home and takes B.S. Johnson's House Mother Normal as its launching point, employing the logic of a musical score and editing it into a vertical structure. It premieres Friday 23 July at the Serpentine as part of Park Nights and will screen at the Sackler Centre for Art Education to 19 Sept.