Hi Emma! We are honoured and very excited to have you as part of CIRCA’s c.20:21 programme for this month on the Piccadilly Lights screen, in collaboration with the Whitechapel Gallery and the Max Mara Art Prize for Women. Perhaps we can start by asking why you were interested in this commission?
The prospect of being able to realise some work for the screen at Piccadilly Circus was super exciting to me, because it offered the potential to address the zeitgeist of our times so directly. During lockdown, I’ve really had to ask myself how art could or should function. What can art do in relation to a set of contemporary conditions we’d never experienced before. The CIRCA project, for artists to make works for the iconic outdoor screen extended the potential for art to have a life in a city. Situating my animations, that address the problematics of accelerated capitalist structures and their empty promises and appeal to us to reimagine our futures differently, within a space commonly used for advertising seemed apposite.
A Year of Dark Shadows, 2021
What will it take to emerge from a year of darkness and heal, Talbot asks? “Do you stare down into the pit… or up to the stars, pinpoints of hope in the night sky?”
Emma Talbot (b. 1969 Stourbridge) is an artist based in London. She is the winner of the 2020 Max Mara Art Prize for Women in association with Whitechapel Gallery and Collezione Maramotti. Across a range of media; painting, 3D forms, drawing, sound, installation and animation, her work constructs narratives that explore how the internalised, emotional space of subjectivity is cast into current prevalent concerns - such as our relationships with technology, nature, the regenerating city and power structures. Recent exhibitions include GEM Kunstmuseum The Hague NL, 2019 Art Night Commission William Morris Gallery London, Galerie Onrust Amsterdam, Neuer Aachener Kunstverein D, Arcadia Missa New York, Petra Rinck Galerie Düsseldorf, Tate St Ives, Turner Contemporary Margate.
CLICK HERE to learn more and visit Emma's website.
“After decades of There Is No Alternative ideology, we see a pathos of the possible that aims to quell fears about empty possibilities without potentiality. But what are the potential possibilities—as opposed to largely hypothetical ones? In Peter Osborne’s characterization, the space of art is project space, and hence the space of the projection of possibilities and the presentation of “practices of anticipation.” And indeed, much contemporary aesthetic practice is possibilist—from speculo-accelerationist 'we were promised jetpacks' retro-Prometheanisms to various forms of social and political practice seeking to foster and form alternative forms of assembly and cooperation.” - Sven Lütticken
'Divergent States of Emergence: Remarks on Potential Possibilities, Against All Odds' by Sven Lütticken, February 2021, e-flux journal issue 115.
CLICK HERE to read Lütticken's 'Divergent States of Emergence: Remarks on Potential Possibilities, Against All Odds'.