The Black Fantastic: Ekow Eshun in Conversation
with Ekow Eshun and Dr Caroline Edwards Friday 24th February 2023, 6-8pm, Keynes Library, 43 Gordon Square, Bloomsbury, London WC1H 0PD Please book your free ticket here. How are contemporary Black artists reimagining fantastic genres and motifs to address racism and social injustice? How do elements of folklore, science fiction, spiritual traditions, ceremonial pageantry and Afrofuturism inform multimedia Black art today? What can we learn from their powerful visions of futurity? We are thrilled to be joined by Ekow Eshun for a special session on the Black Fantastic. Eshun's recent exhibition "In the Black Fantastic," which ran from June to September 2022 at the Hayward Gallery, brought together contemporary artists from the African diaspora, whose work draws on science fiction, myth and Afrofuturism. Featuring artists such as Nick Cave, Sedrick Chisom, Ellen Gallagher, Wangechi Mutu, Chris Ofili, Lina Iris Viktor and Kara Walker, "In the Black Fantastic" was the UK’s first exhibition dedicated to the work of Black artists working in the realm of the fantastical – including mythology, folklore, spiritual traditions, science fiction and Afrofuturism – to explore racial injustices and identity. Eshun will reflect on his experiences curating this acclaimed exhibition and discuss how Black artists are exploring the fantastic across a variety of media. Ekow Eshun is a Ghanaian-British writer, editor and curator. He has been the editor of numerous magazines, including Tank, Arena and Mined. He was Artistic and Executive Director of the Institute of Contemporary Arts, London (2005-10), during which time visitors rose by 38%. He holds an honorary doctorate from London Metropolitan University and is Chairman of the Fourth Plinth Commissioning Group, overseeing London's most significant public art programme. He writes frequently for the Guardian, Independent on Sunday, The Face and the Observer. He is a regular contributor to BBC Radio 4 arts shows Saturday Review and Front Row. Eshun's Orwell Prize-nominated memoir, Black Gold of the Sun: Searching for Home in England and Africa (2005) explores issues of race and identity. In 2016, he curated a group exhibition at The Photographers’ Gallery, London exploring the identity of the black dandy, Made You Look: Dandyism and Black Masculinity. In 2017, he edited the publication Africa Modern: Creating the Contemporary Art of a Continent, which marked the opening of Cape Town’s Zeitz Museum of Contemporary Art Africa. He is also Chairman of Trafalgar Square’s Fourth Plinth Commissioning Group, and Creative Director of the arts space Calvert 22 Foundation, for which he has instigated an award-winning online magazine, The Calvert Journal. Please book your free ticket here. Venue information available here. Featured image: photograph of Wangechi Mutu's "The End of Eating Everything" (short film, 2013) taken by Dr Caroline Edwards at the "In the Black Fantastic" exhibition, Haywood Gallery London, September...
SF & Extraction Conference CFP
SF & Extraction: LSFRC 6th annual conference 8-9 October 2022, Online Keynote speakers & Guest creators TBC. We're delighted to be supporting the 6th annual conference of the London Science Fiction Research Community, which returns in October 2022 as an international, two-day online event. Situating Extraction As Earth burns, capital continues to plunder more and more material with which to fuel its own destructive growth. ‘Extraction’ entails the removal – usually forcible – and conversion of the human and inhuman into marketable materials. In so doing, nature as such becomes implicated in human politics across a variety of tangled, exploitative confluences. Extraction is an imperialist, (neo)colonialist practice that has been wreaking havoc on life for over five hundred years, as resources and people are extracted from the Global South and profit accumulated in the Global North. It undergirds capitalism’s model of success-through-progress, occupying and controlling the horizons of past history, present conditions and future possibility. Extraction, then, insists that alternative ways of being-in-the-world do not matter, excluding, exploiting and destroying lives in order to keep the engines of eternal growth burning brightly. For the past two centuries, extraction has built a world petroculture, a global energy system that has caused disastrous damage to the planet’s climate and circumscribed social and cultural imaginaries. It is imperative that we find ways to conceive of futures free of extractive hegemony and the technofix solutions it proposes to the problems it causes. Sf builds new worlds, sometimes from the same components that constitute our present reality, sometimes with alternative ingredients and values toward more just and equitable ways of being. Its origins as a genre are colonialist and imperial, and its close affinity for the dominant technoculture remains ongoing. In spite of this – or, rather, precisely because of this – sf is uniquely effective as a mode of imagining capable of destabilising the binaristic divisions (nature/culture, first nature/second nature, centre/periphery) that underscore extractive thinking and practice. Sf has often been a genre of technical and personal mastery, but is increasingly a space for vulnerability, inclusion and change, of finding ways out of the historical nightmare that is being differentially forced upon us. The SF + Extraction Conference For our 2022 conference, the LSFRC welcomes submissions that explore the theme of Science Fiction + Extraction. We invite proposals for papers, panels, workshops, performances, and creative responses to the theme, and we would like to actively encourage alternative and innovative forms of presentation and engagement. It is our view that the theme of Extraction is urgent and at the same time broad and receptive to diverse interpretations. We welcome contributions that think with,...
Migration & Documentality
Migration & Documentality: Collaborative Thinking and Social Justice A collaborative and interactive panel talk on issues of contemporary migration, documentality and social justice. Wed, 22 Jun 2022, 20:00 BST (free event, booking required) Goodenough College, Mecklenburgh Square, London WC1N 2AB This panel discussion features Dr Henghameh Saroukhani (Saint Mary’s University, Canada) and Dr Agnes Woolley (Birkbeck, University of London) who will be discussing their current collaborative work on migrant life, documentality and genre-bending writing. Their conversation will examine the radical journalistic prose of the Iranian-Kurdish writer Behrouz Boochani who wrote about his imprisonment on Manus Island entirely on WhatsApp alongside the neglected archival material required to fully understand the morbid injustices associated with the recent Windrush scandal. They will discuss the nature of collaborative thinking, embodied research practices and the ethics of writing about illegalized and 'undocumented' lives. This talk encourages feedback and sharing from audience members so as to facilitate a space of intellectual affinity, solidarity and alliance. Supported by the Birkbeck Institute of the Humanities, the Centre for Research on Race & Law (Birkbeck), and The Decolonial Group (GoodEnough). Contact information: henghameh.saroukhani@smu.ca and/or a.woolley@bbk.co.uk. Click here to book your free place at this event. Featured image from Chauka, Please Tell Us the Time (Dir. Behrouz Boochani,...
Futurisms in Contemporary Turkey
4 July 2022, 6pm, The Keynes Library, 43 Gordon Square, Bloomsbury, London, WC1H 0PN Attendance is free, but booking is required. This talk will introduce scholarship on speculative fiction and futuristic narratives in Turkey and give a historical and literary survey of the tradition of entangled futurities and speculative worldbuilding in contemporary Turkish Literature. Discussion of the selected primary texts will illustrate the intellectual and academic interest in contemporary Turkey and the common concerns and themes portrayed in Turkish literature. Dr Emrah Atasoy is the author of the monograph Epistemological Warfare and Hope in Critical Dystopia (2021) and several articles and book chapters on speculative fiction, futuristic narratives, Turkish speculative fiction, ecocriticism, twentieth-century literature, and comparative literature. He is currently a visiting postdoctoral scholar at the Faculty of English, University of Oxford, as a recipient of the TUBITAK (The Scientific and Technological Research Council of Turkey) 2019 International Postdoctoral Research Fellowship Grant. Please click here to book your place. Featured image taken by Emrah Atasoy....
The Progressive Fantastic in Germany
Changing the Voices of Science Fiction: The Progressive Fantastic in Germany Wednesday 22 June 2022, 6-7.30pm, Birkbeck, University of London (attendance is free, but booking required) German science fiction has traditionally been a conservative genre, its main authors to this day mostly white, cis, hetero males of middle age. Until recently, diversity of genders, non-heteronormative sexuality, race or varied ethnic and cultural backgrounds, or representations of other marginalized groups (age, (dis)ability, etc.) has been sorely missing. But there has been a concerted effort by a younger, more diverse group of writers to change the approach to fantastic literature as a whole. Under the umbrella of the "progressive fantastic," they have called for the inclusion of other identities in speculative fiction, the strengthening of own-voices, and a keen-eyed reexamination of traditions and structures in fantastic texts. In this talk, I want to present the key features of this "progressive fantastic" by looking at exemplary texts of recent German SF production: Judith and Christian Vogts groundbreaking work in writing in a non-heteronormative language and presenting intersectionally diverse communities in Wasteland (2019) and Ace in Space (2020); James Sullivan’s investigation of belonging and self-positioning via Afrofuturist estrangement in Die Stadt der Symbionten (2019), Lena Richter’s subtle emphasis on (dis)abled and neurodivergent characters in her short stories "Feuer" (2020) and "3,78 Lifepoints" (2021), and Theresa Hannig’s reinvigoration of the hopeful narrative strategies of utopia as a genre in Pantopia (2022). Dr Lars Schmeink is currently Leverhulme Professor of German Studies at the University of Leeds, visiting from his position as Research Fellow at the Europa-Universität Flensburg, where he just applied for funding for a larger research project on science fiction as a form of science communication. Before coming to Leeds, he concluded his work as principal investigator of the federally funded "Science Fiction" subproject for the "FutureWork" network, an interdisciplinary research group working on the development of work and society. In 2010, he inaugurated the first German academic organization dealing with research into the fantastic, the Gesellschaft für Fantastikforschung, and served as its president for ten years. He is the author of Biopunk Dystopias (2016), and the co-editor of Cyberpunk and Visual Culture (2018), The Routledge Companion to Cyberpunk Culture (2020), Fifty Key Figures in Cyberpunk Culture (2022) and New Perspectives on Contemporary German Science Fiction (2022). Click here to book your free place. CLICK HERE TO LISTEN TO A RECORDING OF THE LECTURE. Featured image by BroneArtUlm under a CC BY...
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