Hana Noorali and Lynton Talbot
The Noon Sirens

Publication

Curatorial Statement

The Noon Sirens invites Anaïs Duplan, Johanna Hedva, Lara Mimosa Montez and others to occupy Amant’s digital spaces ahead of and during SIREN (some poetics), curated by Quinn Latimer.

If SIREN (some poetics) recognizes the siren as both a warning of danger and the danger itself, The Noon Sirens will act as a precursor to this fact. While much has been said of the fluidity of digital space, it remains a deeply contested water. The Noon Sirens anticipates the trouble. The artists and writers are invited to challenge the dominance of ‘universal’ languages, resist data’s absolutization of knowledge, where numbers speak for themselves and regress the violence of accelerated digital communication. Just as there is no neutral voice, there is no neutral space, and these artists consider the territories they occupy and what a de-colonization of the digital might be.

As a dispersed, yet connected set of events, The Noon Sirens ensure the efficacy of the siren. Whilst digital territories can be liberatory spaces for self-expression and participation, enabling us to speak up and speak out to the world online, in doing so there, our dissenting voices too frequently reify the very problems we intend to critique. These kinds of complicities do not warrant refusal or withdrawal but radical reorganization. The Noon Sirens looks to establish discrepant relations to these spaces and asks how language might be able to resist capture, re-balance the distribution of rights, and trouble our relations to power.

This is not an attempt to rise above complicity but forge a radical one by recognizing the disposition of the terrain and occupying it more fugitively than before. Testing, waiting, living through, and contending with the siren.

Hana Noorali & Lynton Talbot, curators

Anaïs Duplan, Screenshot from The Lovers Are the Audience Who Watch, 2018, Image courtesy the artist
Anaïs Duplan, Screenshot from The Lovers Are the Audience Who Watch, 2018, Image courtesy the artist
Anaïs Duplan, Screenshot from The Lovers Are the Audience Who Watch, 2018, Image courtesy the artist
Lara Mimosa Montes, The Cinderella Complex-XXX, 2014, Image courtesy the artist
Lara Mimosa Montes, Produce/Perform, 2019, Image courtesy the artist