Emily Wardill is a London-based filmmaker. She has exhibited widely in the UK and internationally, including solo projects at M HKA in collaboration with If I Can’t Dance, Antwerp (2011), de Appel arts centre, Amsterdam (2010), The Showroom, London (2009), the ICA, London (2008), Fortescue Avenue/Jonathan Viner, London (2005, 2006), Standard, Oslo (2008) and the performance event The Feast Against Nature, at PS1 Contemporary Art Centre, New York (2004). She has shown at Tate Britain, Film Festival Oberhausen, Whitechapel Art Gallery, Witte de With, the London and New York Film Festival, MOCA Miami, was included in The British Art Show 2010/11, won the Jarman Award and showed at MIT List at the end of 2010. She is currently showing in the Venice Biennale.
On 4 May 2011 Emily Wardill participated in Free Cinema School Salon at the Centre for Possible Studies in London: As part of her residency at the Centre for Possible Studies, Emily Wardill showed past work and excerpts of films that were influencing her process. Wardill collaborated with people from London’s Migrant Resource Centre through workshops that explore the use of melodrama in the process of making, and question of how the making of a film can open up political processes for all those involved.
Emily Wardill is one of five artists commissioned by If I Can’t Dance to make a new work as part of Edition IV – Affect (2010–2012). Emily Wardill is an artist living and working in London. She is a senior lecturer at Central Saint Martins College of Art.
Her new work Fulll Firearms is co-commissioned by If I Can’t Dance, Serpentine Gallery, and Film London’s FLAMIN Productions. It is co-produced by FLAMIN Productions and City Projects with support from M HKA, Antwerp, Badischer Kunstverein, Karlsruhe and FRAC Champagne-Ardenne, Reims.
Fulll Firearms is a feature film that presents the story of a woman who constructs a house to accommodate the ghosts of people killed by her father’s firearm company. In her films, Emily Wardill creates situations that examine conditions of precarity in society and how these affect people’s relationships. Her films are fostered by improvisations and workshop sessions that are set up by the artist to develop themes and characters in a collaborative manner.
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