IMMA is delighted to partner with Film London Artists’ Moving Image Network (FLAMIN) to present the work of Film London Jarman Award 2025 winning artists, Onyeka Igwe and Morgan Quaintance on Living Canvas at IMMA.

Now in its eighteenth year, the prestigious Film London Jarman Award recognises and supports artists working with moving image and celebrates the spirit of experimentation, imagination and innovation in the work of UK-based artist filmmakers. The Award is inspired by visionary filmmaker Derek Jarman.

The nominees for the Film London Jarman Award 2025 included Arwa Aburawa and Turab Shah, Karimah Ashadu, George Finlay Ramsay, and Hope Pearl Strickland.

About the films: 

Onyeka Igwe
A Radical Duet (2023)
28 minutes
1947 London was a hub of radical anti-colonial activity. International intellectuals, artists, and activists like Funmilayo Ransome-Kuti, Sylvia Wynter, C.L.R. James, Kwame Nkrumah, and George Padmore were all in London at the eve of the end of British colonialism. Individually, they were agitating for their respective countries’ national independence, but did they meet? And if they all did, what did they discuss? What did they conjure?

A Radical Duet (2023) is funded by Film London Artists’ Moving Image Network, Bonington Gallery, June Givanni Pan African Cinema Archive, and the Humanities Cultural Programme at The Oxford Research Centre in the Humanities. Supported by the National Lottery through Arts Council England.

Morgan Quaintance
Repetitions (2022)
24 minutes
An exploration of recursive patterns, a series of repeated sequences, flickering images and looping sounds. On the surface, Repetitions concentrates on inducing retinal excitement and states of anticipation, but telephone messages and speech provide a through line that speaks to physical labour, industrial work and fragile bodies.

Repetitions (2022) is supported by Field Recordings: Documenting Complexity – WORM Institute for Avantgardistic Recreation, Rotterdam.

About the Artists:

Onyeka Igwe is a London-born and based moving image artist and researcher. Her work is aimed at the question: how do we live together? Not to provide a rigid answer as such, but to pull apart the nuances of mutuality, co-existence and multiplicity. Onyeka’s practice figures sensorial, spatial and counter-hegemonic ways of knowing as central to that task.

For her, the body, archives and narratives both oral and textual act as a mode of enquiry that makes possible the exposition of overlooked histories. The work comprises untying strands and threads, anchored by a rhythmic editing style, as well as close attention to the dissonance, reflection and amplification that occurs between image and sound.

Morgan Quaintance is an artist working primarily with moving image across 16mm, digital and video formats. He also writes, takes photographs, composes music, and works with exhibitions. These are all elements of what he considers to be a single expanded art practice, while moving image is the primary medium that allows him to combine other disciplines into a single (portable) container. Quaintance resists having a fixed set of concerns that he explores every time he makes a work. That said, he’s broadly interested in non-conformism, ethnography, avant- garde aesthetics, the human condition, Afro-Caribbean, African American, East Asian and British histories, the built environment and intersubjective connection. His practice expresses these interests but is not subordinated to them.

About the Film London Jarman Award

The Film London Jarman Award is presented by Film London through the support of Arts Council England in association with Whitechapel Gallery. The Film London Jarman Award recognises and supports artists working with moving image and celebrates the spirit of experimentation, imagination and innovation in the work of UK-based artist filmmakers. The Award is inspired by visionary filmmaker Derek Jarman.

Now in its seventeenth year, the Award has built an enviable reputation for spotting rising stars of the UK art world. Previously shortlisted artists include Heather Phillipson, Lawrence Abu Hamdan, Oreet Ashery, Duncan Campbell, Monster Chetwynd, Luke Fowler, Imran Perretta, Charlotte Prodger, Laure Prouvost, Elizabeth Price, James Richards, and Project Art Works, all of whom went on to be shortlisted for or to win the Turner Prize.

Film London Jarman Award past winners

Luke Fowler (2008), Lindsay Seers (2009), Emily Wardill (2010), Anya Kirschner & David Panos (2011), James Richards (2012), John Smith (2013), Ursula Mayer (2014), Seamus Harahan (2015), Heather Phillipson (2016), Oreet Ashery (2017), Daria Martin(2018), Hetain Patel (2019). In 2020 the prize was split between Michelle Williams Gamaker, Hannah Quinlan and Rosie Hastings, Jenn Nkiru, Project Art Works, Larissa Sansour and Andrea Luka Zimmerman, Jasmina Cibic (2021), Grace Ndiritu (2022), Rehana Zaman (2023) and Maryam Tafakory (2024).
 

About Film London Artists’ Moving Image Network (FLAMIN)

Film London, with funding from Arts Council England (ACE), is a major supporter of artists’ filmmaking, through the Film London Artists’ Moving Image Network (FLAMIN). FLAMIN was launched by Film London in 2005 as a one-stop resource to provide London-based artists working in the moving image with access to funding, guidance and development opportunities. Through unique commissioning funds, FLAMIN has commissioned over 200 productions, and supported the careers of countless other artists with programmes of one-to-one advice sessions, residencies and workshops.

FLAMIN (Film London Artists’ Moving Image Network) is supported by The Arts Council England

The Jarman Award 2025 is supported by, Whitechapel Gallery and IMMA

The film The Embroiderers (2016) by Maeve Brennan is screened as part of Living Canvas at IMMA in connection with the exhibition Reverse Migration, a Poetic Journey by Cecilia Vicuña at IMMA. Brennan’s film shares the exhibition’s themes of family and kinship, love, care and heritage, where pattern, fabric and handmade textiles act as objects that carry emotional bonds, cultural identity and memories, as well as being functional objects. Cecilia Vicuña’s exhibition Reverse Migration, a Poetic Journey will run in the galleries until 5 July 2026.

About the film

Maeve Brennan
The Embroiderers, 2016
HD video with sound, 23 minutes
The Embroiderers (2016) documents the stories of six women working with Palestinian embroidery today: Umm Ibrahim (Amman, Jordan); Wahiba Mohammad Ali Tawafsha (Sinjil, Palestine); Raja Sabri el-Zeer (Salfit, Palestine); Suhair Odeh (Dheisheh Camp, Bethlehem, Palestine); Nawal Mahmoud (Saida, Lebanon) and Maryam Malakha Abu Laban (Amman, Jordan). Through personal accounts, the film explores the significance of this intimate and deeply political material and how it continues to give form to ideas of Palestinian heritage, history, labour and resistance. The film returns throughout to Umm Ibrahim’s hands turning the pages of a book of Palestinian embroidery designs. Every set of designs denotes a different town with its own unique colours and motifs, conjuring the landscape of Palestine with each stitch.

Credits

Featuring:
Umm Ibrahim (Amman, Jordan)
Wahiba Mohammad Ali Tawafsha (Sinjil, Palestine)
Raja Sabri el-Zeer (Salfit, Palestine)
Suhair Odeh (Dheisheh Camp, Bethlehem, Palestine)
Nawal Mahmoud (Saida, Lebanon)
Maryam Malakha Abu Laban (Amman, Jordan)

Director: Maeve Brennan
Producer: Rachel Dedman
Editor: Carine Doumit
Production Assistants: Livia Bergmeijer, Yara Abbas, Maria Qawasmi
Sound editor: Raed Younan
Colourist: Belal Hibri – Rez Visual
Translator: Lame el Mawla

Commissioned by The Palestinian Museum, Birzeit

About the artist:

Maeve Brennan is an artist and filmmaker based in London. Her practice explores the social, historical and political resonance of material and place. Working across moving image, installation, sculpture and printed matter, her works excavate layered histories, revealing the unseen structures that shape contemporary life.

Recent solo exhibitions include: Tai Kwun Contemporary (HK), VISUAL Carlow (IE), E-WERK Freiburg (DE), Stanley Picker Gallery (UK), Mother’s Tankstation (IE), Wäinö Aaltonen Museum of Art (FI), Chisenhale Gallery (UK), The Whitworth (UK) and Spike Island (UK). Recent group exhibitions and screenings include: Barbican Centre (UK) The High Line (NYC), Somerset House (UK), Tate Britain (UK), Kettle’s Yard (UK), Lentos Kunstmuseum (AUT), Schirn Kunsthalle Frankfurt (DE) and British Art Show 9 (UK).

Brennan is the recipient of the FLAMIN Production Award 2025 for her project DEEP STORAGE. She was shortlisted for the Jarman Award (2024) and the CIRCA Prize (2024). She was awarded the Sainbury Scholarship, British School of Rome (2023), the Stanley Picker Fine Art Fellowship (2019-22), the Paul Hamlyn Award for Artists (2021) and the Jerwood/FVU Award (2018). Brennan is in residence at Somerset House Studios and her films are distributed by LUX. She is a lecturer at Goldsmiths, University of London.

Dwelling in the interval of time that bridges one year to the next, this programme – Tilt the interval – is shaped by questions of interruption. In a world filled with disordered narratives, the artists’ works wrangle arrangements of their own. The films articulate new practices for narrating unfixed environments. They tilt the structures that inevitably slip: speech, writing, rehearsal, technology, and film materiality.

This screening features five emerging Irish and international artists working in film and moving image, and is guest curated by Screen Service for Living Canvas at IMMA. Screen Service is a service-oriented organisation that has been supporting artists primarily in or from Ireland since 2022 and is co-directed by Ellen O’Connor and Bronagh Gallagher.

Tilt the interval is curated by Ellen O’Connor and includes works by Holly Pickering, Elinor O’Donovan, Lucy Tevlin in collaboration with Ben Malcolmson, alyene, Olivia Normile. 

Films in order of appearance: 

Holly Pickering, An Apprenticeship, 2025| 09:25 minutes

Elinor O’Donovan, Convivo, 2025| 10:29 minutes

Lucy Tevlin, LO-TEK, 2025| 09:30 minutes

alyene, œrystɯla, (or örüstyla), 2022| 07:11 minutes

Holly Pickering, Actor, 2025| 06:21 minutes

Olivia Normile, Limits and Demonstrations, (Loop Two), 2025| 04:23 minutes

About the films:

Holly Pickering
An Apprenticeship, 2025
Colour, sound, 09:25 minutes
An Apprenticeship takes its title from Brazilian novelist Clarice Lispector’s ‘An Apprenticeship Or The Book Of Pleasures/Un Apprentissage, Ou, Le Livre Des Plaisirs’ in which the protagonist questions how to bridge the gap between herself and others. In this moving-image work, a nameless character addresses two synchronized cameras, offering disparate statements and posing questions to the viewer. Filmed against a photography backdrop, the image gestures toward staged scenes and audition tapes, drawing upon ideas of authenticity, rehearsal and performance. The script holds together text from Lispector’s novel, LinkedIn notifications, iPhone prompts, email etiquette and social cues, reflecting upon how we navigate our sense of self amidst the pervasive influence of mass media and the modern emphasis on ‘marketing one’s character’.

The sound reconfigures Jeff Buckley’s song ‘So Real’, and the ’X song but you are in a bathroom at a party’ internet trend, popularised during the COVID 19 pandemic – in which pop songs were edited to sound as though coming from another room – muffled and distant, drowned out by the ambient chatter of an imagined social setting. An Apprenticeship circulates around the contemporary struggle and desire for intimacy, calling attention to the quiet anxieties of self-presentation.

Elinor O’Donovan
Convivo, 2025
Colour, sound, 10:29 minutes
Convivo is a film about the rhythms of living together, with other people and with the more–than–human world. Filmed in a former school in the Kaunu region of northern Finland, the film lingers in empty rooms, following small details in the library, bedrooms, sitting rooms and kitchen. Colourful flecks of confetti appear and disappear, suggesting the presence of others, beings and ways of being that cannot be fully known. Subtitles give voice to insects, birds, and the spectral presence of former residents, while occasionally humans are glimpsed through windows or heard in distant rooms. The film reflects on conviviality as a way of being, where coexistence is an ongoing, shifting practice rather than a fixed state.

Lucy Tevlin
LO-TEK, 2025
Audio by Ben Malcolmson
Colour, sound, 09:30 minutes
LO-TEK is a digitised 16mm film produced in 2024 during Tevlin’s residency with Harkat Studios, situated in the mountainous region of Kalimpong in the Himalayas, West Bengal, India. The film was developed and printed by hand using experimental contact printing processes. In harmony with the mountainous landscape, buildings are depicted nestled into steep slopes and are constructed using materials that are both readily available and manufactured. The film reflects on the sharing of traditional ecological and technological knowledge systems, questioning historical Western ideas of progress and the mythology of technology.

Ben Malcolmson’s Untitled Soundscape #1, 2025, is a responsive audio piece to Tevlin’s LO-TEK, exploring themes of place, land, and human presence through a multilayered soundtrack. Archival field recordings, distant hums, and fragmented voices merge with the tactile textures of celluloid tape.

Alyene
œrystɯla, (or örüstyla), 2022
Colour, sound, 07:11 minutes
The title of this work – œrystɯla, (or örüstyla) – translates as “language of the river.” Drawing connections between the land, the Sakha language, and the practice of relating to both animate and inanimate beings, the work evokes the inseparability of environment, consciousness, and body. Through the reclamation of animistic cosmologies passed down from previous generations, it brings attention to the former script of Sakha culture. The video incorporates historical references to an early Sakha writing system, taking imagery from a 1919 primary school textbook.

Holly Pickering
Actor, 2025
Colour, sound, 06:21 minutes
Actor uses women’s competitive gymnastics as a lens to explore broader societal demands on femininity. The work compiles archival footage, including Nadia Comăneci’s 1976 performance, where she became the first gymnast to score a perfect 10.0 ( a score displayed as “1.00” due to the limitations of the scoreboard); an interview with Kerri Strug discussing her 1996 Olympic vault on a broken ankle, securing gold for the U.S. team in tandem with ending her gymnastics career; and scans of the FIG Code of Points.

Olivia Normile
Limits and Demonstrations, (Loop Two), 2025
Colour, 04:23 minutes
Cold glass, dust settles, spots in motion.
A blurring of autobiographical moments and staged reenactments, this film enacts a disconnect and delay of sight and memory. A gathering of scenes, questioned, their commonalities reconsidered and woven together. Sight altered, memory fades; each frame carries a slight delay, as though recalled from underwater or from the edge of the peripheral. Limits and Demonstrations reaches into the microscopic, spotlighting the details that precede recognition, the hesitant gestures that form before understanding has time to settle.

This film originally formed part of a Platform Commission for the 41st EVA International.

About the artists

Holly Pickering is an artist from Waterford currently based in Dublin. Her practice moves between moving-image, publication-making, and writing to explore questions surrounding communication. Her practice is attuned to human behaviours and the ways in which social conventions mediate emotions, gestures, and speech as they unfold within interpersonal interactions. Drawing on cinematic, literary, and pop cultural references is central to how these concerns are articulated.

Elinor O’Donovan speculates playful responses to questions about knowledge, memory and truth. Working primarily in film and installation, she emphasises the ways stories shape our understanding of ourselves and the worlds we inhabit, using humour to interrogate the blurred boundaries between fact and fiction. Drawing heavily on pop cultural references and tropes, she recontextualises shared symbols to question what assumptions they may impart. Playfulness is key to her methodology, using visual wit to engage with complex themes such as personal identity and western cultural myths. She has exhibited in solo and group shows across Ireland, the UK, Portugal, Italy, South Korea, and Mexico. Solo exhibitions include: Metametamorphosis, 36 Gallery, Newcastle, (2026); The Immeasurable Grief of the Prawn, GeneratorProjects, Dundee (2023); Brain Worms, Sample-Studios at the Lord Mayor’s Pavilion, Cork (2021); and Brain Worms: Redux, 126 Gallery, Galway (2021). Selected commissions include: Crawford Art Gallery and Cork Midsummer Festival (2024); and Island City: Cork’s Public Art Trail, commissioned by the National Sculpture Factory and Cork City Council (2023). She is a recipient of the Arts Council of Ireland Visual Arts Bursary (2024, 2023, 2022, 2021), and the Cork Midsummer Festival Jane Anne Rothwell Award (2024). In 2024, Elinor O’Donovan was shortlisted for the Golden Fleece Award.

Lucy Tevlin is a visual artist based in Dublin. Her practice is shaped by a conceptual approach to image making. She uses image, text, film, and found materials to methodically interrogate the spatial, mechanical, and historical properties of photographic technologies. Her work examines how images are made, presented, and distributed, primarily using apparatus on the brink of obsolescence. The subject matter of her work is often referential to the medium used. Her practice inquires into the nature of representation, temporality, technological progress, and acts of looking.

Ben Malcolmson is a visual artist and curator from Belfast and based in Dublin. His fine art practice explores the parameters of photography, video, and sculpture using alternative photographic processes with relation to one’s land and identity. His curatorial interests encompass social engagement and activism through a public-centred approach, particularly for young people.

alyene is a visual artist from the Sakha Republic. She has ancestral ties to both the Kolyma region and the central part of the republic, and was raised in Zyryanka and Yakutsk. Her practice engages themes of continuity, displacement, gaps, and absences within the cultural memory of the Sakha people and related northern communities. Drawing on personal and familial histories alongside state archives and media, she reflects on how Indigenous identities and memories are shaped, silenced, and reclaimed.

Olivia Normile is an artist exploring language, communication, and perception through animation, installation, and experimental film. Activated by an interest in the peripheral, this layering of methods allow for an exchange of roles and narratives. Animals frequently appear as central figures in her work, acting as counterpoints to the human perspective. Her installations and films often stage quiet exchanges between species and systems unfolding through gaps and omissions.

About the guest curators:

Screen Service is a service-oriented organisation supporting artists in or from Ireland. Through collaboration and flexible formats, projects are produced that prioritise experimentation, connectivity and artist-led development. With a focus on media and interdisciplinary approaches, Screen Service works with artists across all disciplines to expand possibilities in critically engaged practice. Co-directed by Ellen O’Connor and Bronagh Gallagher.

Ellen O’Connor is a curator and producer from Co. Louth. She builds responsive frameworks for inquisitive artistic exchange and career support. Often developing projects that unfold across online and physical spaces, her work interlaces themes of correspondence, rehearsal and duality.

This screening of Yes, But Do You Care? (2019–2021) for Living Canvas at IMMA is part of the Yes, But..? national tour of a series of audio-visual artworks by artist Marie Brett. The work is held by IMMA Collection and Brett received an Arts Council Touring Award to bring the piece to arts, community and healthcare settings across Ireland, with an accompanying series of conversation events. The national tour began in September 2025 and continues until February 2026. At IMMA, the screening will be followed by a professional practice event in the Matheson Creativity Hub at IMMA on 12 February 2026.

About the film:

Marie Brett
Yes, But Do You Care? (2019–2021)
14 minutes
Yes, But Do You Care? is an audio-visual film combination of dance, sculptural installation and sound. Set in a huge warehouse as a live overnight event, five performers interact with a ton of salt, big bundles of sticks, haptic projections and a soundscape that collages real-life stories with legal statute. This evocative art piece is layered and complex. It explores the politics of autonomy, family caregiving and capacity legislation. It asks difficult ethical questions related to overlooked elements of human-care interrelation.

Aesthetically the piece collages visuals of human body metaphor with sumptuous colour, swirling pace and symbolic use of materials. The collaged soundscape combines lived-life testimony with judicial readings; balancing sounds of hope, cope and survival. Like much of Marie Brett’s work, Yes, But Do You Care? is strikingly poignant, and responds to the essence of life’s fragility in relation to healthcare, trauma and human rights issues.

There are two art pieces in the Yes, But Do You Care? series. The first, set in a huge industrial warehouse, screens for Living Canvas at IMMA 8-21 January. The second, set in a domestic interior and open-fields, is held by IMMA Collection, and screens as part of the professional practice event on 12 February 2026.

The making of Yes, But Do You Care? included collaboration with choreographer/dancer Philip Connaughton, members of the Dementia Carers Campaign Network supported by The Alzheimer Society of Ireland, and individual advisors in law, advocacy and human rights.

The Yes, But..? tour of the artworks is funded by The Arts Council / An Chomhairle Ealaíon, and supported by a number of arts, community and health-care organisations.

About the artist:

Marie Brett is an Irish audiovisual artist who creates ambitious video art, print, and immersive multimedia installations, often involving live performance, with work presented in in both galleries and unusual sites of flux. At the core of her work are shunned human experiences, and through an extensive socially engaged practice, Brett collaborates with individuals with experience of (ill)health, trauma, loss and social injustice. This sensitive and highly challenging working method is navigated through concepts of hope, cope, care, folk medicine and DIY survival modes.

Recent work includes a nine-country global justice commission; building an immersive installation at Brussel’s European Parliament; touring a national infant mortality art series to healthcare and arts settings; creating a series of live performances at Holy Wells; and a collaboration with trafficked modern-day slaves with Health Service Executive and Drug-Squad and Organised Crime Bureau collaboration.

A graduate of Goldsmiths, London University (BA / MA Arts Degrees), the artist has received commissions and national awards; has critical writing published in Ireland, Britain and Finland; and has artworks in that National Collections of IMMA; Birthrights UK; a number of Local Authorities, and The Arts Council / An Chomhairle Ealaíon.

Qué es para usted la poesía (What is poetry to you?) (1980) by Cecilia Vicuña is screened as part of Living Canvas at IMMA in celebration of the opening of the exhibition Reverse Migration, a Poetic Journey by Vicuña at IMMA. This is the first solo exhibition by the renowned artist, poet and activist in Ireland. For this exhibition, Vicuña’s delves into themes of ancestry, ecological urgency, and the interconnectedness of humanity inspired by the discovery of her ancient ties to Ireland. Reverse Migration, a Poetic Journey  will run in the galleries until 5 July 2025.

About the film:

Cecilia Vicuña
Qué es para usted la poesía (What is poetry to you?), 1980  
Video, sound; 23:20 minutes
Courtesy of the artist and Electronic Arts Intermix (EAI), New York
The artist Cecilia Vicuña asks passersby on the streets of Bogotá – including fellow artists and poets, sex workers, children, a police officer, and a scientist – the question: “What is poetry to you?” The surprising answers she elicits reveal the richness of oral culture in Colombia.

Text courtesy EAI

About the artist:

Cecilia Vicuña is a poet, artist, activist and filmmaker whose work addresses pressing concerns of the modern world, including ecological destruction, human rights, and cultural homogenization. Born and raised in Santiago de Chile, she has been in exile since the early 1970s, after the military coup against the president Salvador Allende. In London, she was a co-founder of Artists for Democracy in l974.

She coined the term “Arte Precario” in the mid-1960s in Chile, as a new independent and non-colonized category for her precarious works composed of debris, structures that disappear in the landscape, which include her quipus (knot in Quechua), envisioned as poems in space. Vicuña has re-invented the ancient Pre-Columbian quipu system of non-writing with knots through ritual acts that weave the urban landscape, rivers and oceans, as well as people, to re-construct a sense of unity and awareness of interconnectivity. These works bridge art and poetry as a way of “hearing an ancient silence waiting to be heard.” Her poetry and Palabrarmas (word-weapons) stem from a deep enquiry into the roots of language. Her early work as a poet in the 60’s was simultaneously celebrated by avant-garde poetry magazines as El Corno Emplumado, Mexico City (l961–1968), and censored and/or suppressed for many decades in Chile and Latin America.

Solo exhibitions of Vicuña’s work have been organized at a number of major institutions, including, most recently, the Museo de Bellas Artes, Santiago de Chile, Chile (2023); Tate Modern, London, United Kingdom (2022); Solomon R. Guggenheim Museum, New York, NY (2022); Museo de Arte Miguel Urrutia (MAMU), Bogotá, Colombia (2022); Centro de Arte Dos de Mayo (CA2M), Madrid, Spain (2021); CCA Wattis Institute for Contemporary Art, San Francisco, CA (2020); and Museo Universitario de Arte Contemporáneo, Mexico City, Mexico (2020). Her work has been featured in numerous group exhibitions, including in documenta 14, Athens and Kassel (2017), and the 59th Venice Biennale (2022), and is part of major museum collections around the world.

The author of more than 30 volumes of art and poetry published in the United States, Europe, and Latin America, her most recent books are: PALABRARmas, USACH, Editorial de la Universidad de Santiago (2023); Word Weapons, Co-published by RITE Editions and Wattis Institute, San Francisco (2023);  Libro Venado, Direcciones, Buenos Aires (2022); Sudor de Futuro, Altazor, Chile (2021); Cruz del Sur, Lumen Chile (2020), Minga del Cielo Oscuro, CCE, Chile (2020), and New & Selected Poems of Cecilia Vicuña, edited and translated by Rosa Alcalá, Kelsey Street Press (2018), among many others.

Cecilia Vicuña was the winner of the 2023 Premio Nacional de Artes Plásticas 2023, one of the most prestigious awards given by her homeland. Preceding this recognition, Vicuña was elected a foreign honorary member of the United States Academy of Arts and Letters and also received the Gold Lion for Lifetime Achievement in 2022 at the 59th Venice Biennale.

Text accessed 30 September 2025 here.