#18 Science fiction
On 25 November Photoworks activated its 2022 Festival in a Box, an open-access exhibition inspired by Octavia Butler’s novel Parable of the Sower. First published in 1993, Butler’s novel charts an America falling into chaos 30 years into the future, and the dogged determination of the narrator as she searches for a new place to call home; with themes of community, tolerance, and the environment, and created as a piece of speculative fiction, it’s the perfect starting point to consider our own fractured present, and imagine a more sustainable future. This issue of Photography+ is inspired by the Festival in a Box.
It includes an interview with Johny Pitts, for example, whose work Home Is Not A Place was commissioned by Photoworks, and who has contributed an image to the Festival in a Box. His series portrays an alternative vision of the UK, a Black Britain too often written out of narratives around the country and its people. This issue also includes an interview with Anshika Varma, who is showing images from her project The Wall in the Festival in a Box; The Wall is a look at the urban forest contained within New Delhi, but Varma is also an experienced publisher and curator, whose activities aim to open up the Western-centric photography industry. Photoworks’ current Writer in Residence Sabrina Citra interviews Varma about both aspects of her practice.
Elswhere Photoworks curators Julia Bunneman and Raquel Villar-Perez discuss the current resurgence of interest in science and speculative fiction, alongside three other curators who have created exhibitions inspired by this work – Alexandra Muller from Le Centre Pompidou-Metz; Rebecca Edwards from Arebyte Gallery; and Ekow Eshun, curator of Hayward Gallery’s In the Black Fantastic. For Eshun, speculative fiction has allowed artists from the African diaspora to think through their experiences and envisage alternatives, as well as allowing all Westerners to try to think up better futures. ‘In the Western world we are all being collectively forced to confront a whole range of existential crises,’ he tells Photography+. ‘Climate change is the most acknowledged but also cases like George Floyd, which showed that racial inequality is real, rather than something that exists purely in the heads of people of colour.’
In the final two articles in Photography+ we pursue Eshun’s insights, and take advantage of the magazine’s digital format to include audio-visual works. Photoworks curator Ricardo Reveron Blanco contributes an essay on Indian duo Madhuban Mitra and Manas Bhattacharya’s Remakes series, for example, specifically their 2020 re-imagining of Jean-Luc Godard’s Alphaville, which sets the science fiction film’s soundtrack against the backdrop of India’s controversial Citizenship Amendment Act, legislation which provides citizenship for immigrants from Pakistan, Bangladesh, and Afghanistan, but excludes Muslims. We also interview Polish artist duo Ewa and Jacek Doroszenko on their Bodyfulness project, which considers transhumanism and technology, and how it is changing even our most intimate environments and relationships.
Finally we present our chosen Community Submission. For this issue, readers were asked to send images based around the idea of The Unhomely, the conception of an estranged experience of home proposed by Sigmund Freud and later developed by postcolonial writer Homi Bhabha. We’re proud to be able to show the image Money Blindness by Accra-based creative Ikon Shepherd. We hope you enjoy this issue.
Diane Smyth
Editor
Each issue, we ask the Photography+ community to submit photographs, and this time we asked readers for images giving an unfamiliar view of the familiar. We are delighted to publish the selected shot, Money Blindness by Accra-based creative Ikon Shepherd.
