FUTURE ECOLOGIES is an artist film exhibition programme curated by Tendai John Mutambu for the British Council and LUX, which explores incisive views about the environment, urban futures, climate change and sustainability.

The programme contains a curated compilation of four works, alongside associated installations. The flexible nature of the programme means that collaborating curators choose some or all of the works for their exhibition and can introduce other artworks as they wish.

'The line between yesterday’s utopias and tomorrow’s dystopias is a fine one; history’s mythic ideal has given way to our present predicament in the current geological age where humanity is the greatest environmental influence. Yet old myths persist in new technologically smarter guises. It is clear by now that to address the future, society must attend to the environment.' - Tendai John Mutambu, curator

Collaborating partners and venues

 

GALERiA e BREGDETiT, Vlorë, Albania (7 July 2021 - 4 August 2021)

Exhibition Title: The Isle of Thorns (FUTURE ECOLOGIES) 

Curated by Elian Stefa. 

The Isle of Thorns is the fourth of six presentations of Future Ecologies being presented in the Western Balkans along with public events, curated by six curators from the region. 

'Speculating on themes explored by five UK artists in dialogue with five artists from Albania and Kosovo, The Isle of Thorns works towards contextualising FUTURE ECOLOGIES as a manifesto for a semi-fictional, symbolic transformation of the Island of Sazan, while also playing with the possibility of using fiction as a design tool.' - Elian Stefa, curator

Artworks exhibited: 

  • Anna Ehrenstein with Saliou Ba, Donkafele, Nyamwathi Gichau, Lydia Likibi and Awa Seck, Tools For Conviviality, 2017-2021
  • Louis Henderson, All That is Solid, 2014, 15 minutes, 40 seconds (LUX)
  • Niku Alex Muçaj, Kaba by Ethem Qerimi, 2012
  • Uriel Orlow, Muthi, 2016, 11 minutes, 23 seconds (LUX)
  • Charlotte Prodger, LHB, 2017, 20 minutes (LUX)
  • Ben Rivers, Urth, 2016, 20 minutes (LUX)
  • Driton Selmani, Milk of Dreams, 2021
  • Abi Shehu, Barren, 2019
  • Abi Shehu, The Beauty of Demise, 2018
  • Bedwyr Williams, The Starry Messenger, 2013, 17 minutes, 43 seconds (British Council)
  • Driant Zeneli, When Dreams Become Necessity, 2009-2014

Public Programme: 

  • Workshop by artist Anna Ehrenstein with curator Tendai John Mutambu
  • Workshop by architect and researcher Klodiana Millona 
  • Artists Anna Baranowski and Donika Çina in conversation 
  • Children's workshop by Driant Zeneli
  • Creative writing workshop by Céline Baumann 

 

Bunar Bridge, Mostar, Bosnia and Herzegovina (21 June 2021 - 26 June 2021)

Exhibition Title: Toxic Lands (FUTURE ECOLOGIES - WE ARE HERE)

Curated by Armina Pilav and produced in collaboration with Damir Ugljen, Un-war Space Lab collective, Association for Culture and Art Crvena from Sarajevo and Abraš Radio from Mostar.

Toxic Lands is the third of six presentations of Future Ecologies being presented in the Western Balkans along with public events, curated by six curators from the region.

'Toxic Lands takes as a source of exploration the toxic narratives and destructive practices of the landscape system of the Neretva River and the city of Mostar.' - Armina Pilav, curator

Artworks exhibited:

  • Andreja Dugandžić, Neretva fish review collage series. You can view the collages here.
  • Louis Henderson, All That is Solid, 2014, 15 minutes, 40 seconds (LUX)
  • Uriel Orlow, Muthi, 2016, 11 minutes, 23 seconds (LUX)
  • Charlotte Prodger, LHB, 2017, 20 minutes (LUX)
  • Ben Rivers, Urth, 2016, 20 minutes (LUX)
  • Dijana Zadro, Toxic Portraits taken throughout the duration of the Toxic Lands programme.

Public Programme:

  • Talk with Amila Lagumdžija, Head of Arts Western Balkans, British Council; Boris Filipić, Pravo na Grad/Rights to the City, Abraš Radio Mostar and Louis Henderson, filmmaker and writer, moderated by Armina Pilav.
  • Talk with Corinne Silva, artist and researcher and Marta Popivoda, filmmaker, video artist and researcher, moderated by Armina Pilav.
  • Readings from environmental texts with the Alternative Library Mostar led by Manja Ristić, Belme Zvizdić, Ronalda Panze, Harisa Sahačić and Hrvoje Cokarić on the banks of the Neretva river.
  • Public walks along the Neretva River with the theme ‘Plants pedagogies about hybrid landscapes’, led by Un-war Space Lab-a and Bojan Spasojević
  • Improvised performance of electro-acoustic music led by Manja Ristić, Belme Zvizdić, Ronalda Panze, Harisa Sahačić and Hrvoje Cokarić.
  • A sound happening by artist Gildo Bavčević

You can view the exhibition website here.

 

Fondacija Petrović Njegoš, Podgorica, Montenegro (04 May 2021 – 28 May 2021)

Exhibition Title: FUTURE IN DEBRIS (FUTURE ECOLOGIES – WE ARE HERE)

Curated by Natalija Vujošević in partnership with The Film Center of Montenegro. Realised in cooperation with the 'Petrović Njegoš' Foundation and the Institute for Contemporary Art (NVU).

Future In Debris is the second of six exhibitions being presented in the Western Balkans along with screenings and public events, curated by six curators from the region.

'The need to rethink the community and to take united action to find the ecologies of the future are the burning topics that the FUTURE IN DEBRIS deals with.' - Natalija Vujošević, curator

Artworks exhibited:

  • Lenka Đorojević & Matej Stupica, Free Fall, 2016, installation, video performance
  • Adrijana Gvozdenović, To and from Montenegro, 2015, designed flower pattern, water and earth mixed from two places
  • Louis Henderson, All That is Solid, 2014, 15 minutes, 40 seconds (LUX)
  • Irena Lagator Pejović, Maximum Profit Minimum, projector, projector / performance lecture
  • Ivan Marković, Centar, 2018, 48 minutes
  • Uriel Orlow, Muthi, 2016, 11 minutes, 23 seconds (LUX)
  • Charlotte Prodger, LHB, 2017, 20 minutes (LUX)
  • Ben Rivers, Urth, 2016, 20 minutes (LUX)
  • Ivan Salatić, We Are the Sons of your rocks, 2018, 34 minutes.
  • Jelena Tomašević, Just Kidding, 2008, 9 minutes

Public Programme:

  • A film created by a small team of artists, filmmakers, curators and theorists that combines video, sound and different texts resulting from conversation exchanges about ideas, fears and hopes. You can view the film here.
  • Artist talk by Louis Henderson
  • Artist workshop by Ivan Salatić
  • Discussion between Ben Cook (Director LUX) and Sehad Čekić (Director Film Centre of Montenegro) moderated by curator Natalija Vujošević
  • Forum for spatial action realized every Thursday online, conceived by KANA (Who If Not the Architect), hosting Biljana Gligorić, Cvijeta Biščević, Balša Lubarda, Ljubo Slavković and Aleksandar Perović.

View the exhibition website here.

 

Eugster || Belgrade, Belgrade, Serbia (03 April 2021 – 01 May 2021)
Drugstore, Belgrade, Serbia (03 April 2021 – 24 April 2021)

Exhibition Title: Conflicts (FUTURE ECOLOGIES – WE ARE HERE)

Curated by Natalija Paunić.

Conflicts is the first of six exhibitions being presented in the Western Balkans along with screenings and public events, curated by six curators from the region.

'Through conversations, visual artworks, sounds, stories and atmospheres, the exhibition traces the silhouette of a possible future.' - Natalija Paunić, curator

Artworks exhibited:

  • Louis Henderson, All That is Solid, 2014, 15 minutes, 40 seconds (LUX)
  • Šejla Kamerić, KEEP AWAY FROM FIRE, 2018, Installation. Gauze, cotton, viscose, rayon. Various dimensions.
  • Šejla Kamerić, The saponified jacket of Melania Trump
  • Uriel Orlow, Muthi, 2016, 11 minutes, 23 seconds (LUX)
  • Elizabeth Price, USER GROUP DISCO, 2009, 15 minutes (British Council)
  • Charlotte Prodger, LHB, 2017, 20 minutes (LUX)
  • Ben Rivers, Urth, 2016, 20 minutes (LUX)
  • Saša Tkačenko, Two minutes before the crime, one minute before ..., 2021. Video 12’ 02”, colour, sound, wallpaper, dimensions variable.
  • Emir Šehanović, Waiting for the new world.
  • Bedwyr Williams, The Starry Messenger, 2013, 17 minutes, 43 seconds (British Council)

Public Programme:

  • A series of conversations moderated by Natalija Paunić with Stine Deja Cécile B. Evans, Luca Lo Pinto and Jeanne Graff talking about imagination and creation. You can listen to the podcasts here.
  • Screening of Branislav Jankic, The Witch’s Cauldron, 92 min. Experimental feature film (performance documentation)
  • Online radio takeover on Radio Aparat, curated by Milos Zec. Including:
    • Live performance by Kiir
    • Discussion between Louis Henderson and Milos Zec, featuring a music playlist chosen by Henderson
    • Stevie Whisper DJ set
    • Discussion between Ben Rivers and Milos Zec, featuring a music playlist chosen by Rivers
    • Sutra (live from Drugstore)
    • Discussion about memoires and the Anthropocene between Dr Dragana Stojanovic, Dr Andrija Filipovic and Natalija Paunić

View the exhibition website here.

 

Royal Botanic Garden Edinburgh, Edinburgh, Scotland (21 November 2020 – 28 February 2021)

Exhibition Title: FUTURE ECOLOGIES

Producer: Amy Porteous

Artworks exhibited:

  • Uriel Orlow, Muthi, 2016, 11 minutes, 23 seconds (LUX)
  • Louis Henderson, All That is Solid, 2014, 15 minutes, 40 seconds (LUX)
  • Charlotte Prodger, LHB, 2017, 20 minutes (LUX)
  • Ben Rivers, Urth, 2016, 20 minutes (LUX)

Plants exhibited:

  • Tumamoc Globeberry
  • Natal Ginger
  • Aframomum sulcatum
  • Northern Hawk’s beard

Due to Covid-19, the physical exhibition closed in December 2021. The works were moved online in early February 2021, along with an in-depth look at the works on the Royal Botanic Garden Edinburgh creative Instagram page.

Public Programme:

  • Online talk between artist Uriel Orlow and botanist Greg Kenicer

 

Sifang Art Museum, Nanjing, China (15 October 2020 – 15 November 2020 )

Exhibition Title: FUTURE ECOLOGIES

Artworks exhibited:

  • Uriel Orlow, Muthi, 2016, 11 minutes, 23 seconds (LUX)
  • Louis Henderson, All That is Solid, 2014, 15 minutes, 40 seconds (LUX)
  • Charlotte Prodger, LHB, 2017, 20 minutes (LUX)
  • Ben Rivers, Urth, 2016, 20 minutes (LUX)

No accompanying public programme due to covid-19.

~

FUTURE ECOLOGIES is part of WE ARE HERE: Artists’ Moving Image from the British Council Collection and LUX – a series of five artists’ film programmes curated by Tendai John Mutambu for the British Council and LUX, an international arts agency that supports and promotes artists’ moving image practices.

Each programme is curated around a theme: national identity, marginality, intimacy, the future and the archive.

WE ARE HERE interrogates how outstanding emerging and established British or UK-based contemporary artists are influenced by these themes and how they explore them through biography, documentary, poetry and fiction.

Collection Artist(s)

Other Artists

  • Louis Henderson

    Louis Henderson is a filmmaker who is currently trying to find new ways of working with people to address and question our current global condition defined by racial capitalism and ever-present histories of the European colonial project. The working method is archaological.

  • Uriel Orlow

    Uriel Orlow lives and works between London, Lisbon and Zurich. Orlow's practice is research-based, process-oriented and multi-disciplinary including film, photography, drawing and sound. He is known for single screen film works, lecture performances and modular, multi-media installations that focus on specific locations and micro-histories. His work is concerned with spatial manifestations of memory, blind spots of representation and forms of haunting

  • Charlotte Prodger

    Charlotte Prodger (born Bournemouth; 1974) studied at Goldsmiths College (now Goldsmiths, University of London) and The Glasgow School of Art.  Prodger explores the shifting representations of self that arise through meetings of language and technology and her works often combine video taken from YouTube with spoken text taken from internet forums and personal emails. The equipment used to play audio and video content is a vital part of Prodger’s work and she is interested in its sculptural properties, design history and associated subcultures. For each new project she reworks previous themes, images and technical paraphernalia to create a distinct visual language.

    Max the Bull Terrier Trancing shows YouTube footage of bull terriers ‘trancing’: a state that they enter into when their back is lightly stroked, for example by leaves around pot plants. In this work the vertical form of the custom made Hantarex monitor and stand become anthropomorphic in height and Prodger has previously installed the work with spoken word pieces underlining the human parallels: ‘Do you ever get this thing, I get it sometimes when I’m doing a task that involves systems and logging… It’s a sudden, very brief flash of a place from my past – not places of significance. Just a particular part of pavement on the way to school or a point on some route I’ve forgotten about. It’s not nostalgic and it’s not emotional. It’s just like co-ordinates being triggered and fired off and then it disappears again.’[1]

     

    [1]AAB,  “Charlotte Prodger” ...ment: 06 , 2015, http://journalment.org/article/aab

  • Ben Rivers

    Ben Rivers studies sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds.

Installation Images

  • Ben Rivers, Urth, 2016.
See all (1)

Glossary

  • Collage

    The two-dimensional form of assemblage made by affixing paper, card, photographs, fabric and other objects to a flat surface. It is often combined with painting and drawing techniques. This technique was first introduced by Pablo Picasso and Georges Braque in 1912 during their phase of synthetic cubism.

  • Contemporary

    Existing or coming into being at the same period; of today or of the present. The term that designates art being made today.

  • Curator

    A person who creates exhibitions or who is employed to look after and research museum objects.

  • Design

    The arrangement of elements or details in an artefact or a work of art.

  • Documentary

    The term ‘Documentary’ was not coined until the 1920s, and then used by the British film-maker, John Grierson, to refer to moving pictures. It has a long and continuous history in British photography, reaching back to the invention of the medium. Many critics claimed that the documentary impulse, which can perhaps be best defined as the systematic recording of visual reality for the purpose of providing information and encouraging understanding of the world, is inherent in the medium itself. It was this view which came to be known as the realist paradigm - the belief that a photograph represents a ‘slice of reality’ easily understood by the viewer. This belief governed understanding of photography from the moment of its invention in the era of positivism in the 19th Century, until it was itself subject to interrogation in the 1980s.

    Early British practitioners included John Thomson whose visual essay Street Life in London (1876) documented the life of the London poor, and Hill and Adamson who portrayed, in the mid 1840s, the customs and way of life of the fisher folk of Newhaven near Edinburgh. In the early 20th century, following the emergence of documentary film-making and Mass Observation (a study undertaken in the North of England by the anthropologist Tom Harrisson), this new aesthetic found its most persuasive outlet in the mass circulation weekly magazines, such as Picture Post and Life. In time, however, pressure from advertisers combined with the restrictions of group journalism and curtailed the independence of creative photographers, with only exceptional individuals such as Bill Brandt able to survive as both a photojournalist and an independent photographer. His images of Britain’s class-ridden society along with his more experimental nudes, portraits and landscapes had a profound influence on a younger generation and established Brant as a major creative force in the development of modernism in Britain.

    Mass Observation was designed to emulate the radical achievements of the worker-photography movement which had arisen in Germany during the 1920s. It proved influential on the evolution of British documentary, especially on those photographers associated with the Side Gallery in Newcastle. The gallery fostered a regional, community-oriented form of documentary practice. Its philosophy was rooted firmly in the notion that an authentic document can only be generated by those familiar with the local community. Photographers associated with Side Gallery included Sirkka Konttinen, Isabella Jedrecyck, Graham Smith, Peter Fryer, Chris Killip and Julian Germain.

    It was, however, across the Atlantic that the more enduring legacy concerning the ethics and status of documentary was to be found in the work of the photographers employed by the Farm Security Administration to document the plight of the American rural poor during the Depression. One of its outstanding photographers was Walker Evans whose use of signs and symbols (such as billboards and advertising hoardings) as images of desire created a text or narrative to accompany the careful sequencing of images. The direct inheritors of the photograph as social sign were the American photographers of the ‘social landscape’, namely Lee Friedlander, Garry Winogrand and Diane Arbus whose unsympathetic vision of the American landscape reflected the anxieties of urban life during the booming consumer decade - store fronts, billboards, graffiti and advertising. They chose to portray people, situations and artefacts in a casual and objective way that allowed the viewer to interpret the work freely; a strategy that became known as the ‘snapshot aesthetic’. One of those who experienced many of these developments first hand was the British photographer Tony Ray-Jones. His work was widely reproduced in the 1960s and his book A Day Off (1974) proved a particular inspiration for the generation of documentary photographers who developed in the late 1970s and early 1980s.

    Relevant websites:
    The work of early documentary photographs can be found in the collections of the Royal Photographic Society www.rps.org)
    The Mass Observation archive is held by the University of Sussex www.sussex.ac.uk/library/massobs/
    The work of the Side Gallery can be seen at     www.amber-online.com/gallery/
    The archive for the Farm Security Administration is now in the Print and Reading Room Collections of the Library of Congress in Washington www.loc.gov/rr/print

  • Film

    A transparent, flexible plastic material, usually of cellulose acetate or polyester, on which light-sensitive emulsion is coated, or on which an image can be formed by various transfer processes.

  • Installation

    An artwork comprised of many and various elements of miscellaneous materials (see mixed media), light and sound, which is conceived for and occupies an entire space, gallery or site. The viewer can often enter or walk around the installation. Installations may only exist as long as they are installed, but can be re-created in different sites. Installation art emerged in the 1960s out of Environmental Art (works of art which are three-dimensional environments), but it was not until the 1970s that the term came into common use and not until the late 1980s that artists started to specialise in this kind of work, creating a genre of ‘Installation Art’. The term can also be applied to the arrangement of selected art works in an exhibition.

  • Landscape

    Landscape is one of the principle genres of Western art. In early paintings the landscape was a backdrop for the composition, but in the late 17th Century the appreciation of nature for its own sake began with the French and Dutch painters (from whom the term derived). Their treatment of the landscape differed: the French tried to evoke the classical landscape of ancient Greece and Rome in a highly stylised and artificial manner; the Dutch tried to paint the surrounding fields, woods and plains in a more realistic way. As a genre, landscape grew increasing popular, and by the 19th Century had moved away from a classical rendition to a more realistic view of the natural world. Two of the greatest British landscape artists of that time were John Constable and JMW Turner, whose works can be seen in the Tate collection (www.tate.org.uk). There can be no doubt that the evolution of landscape painting played a decisive role in the development of Modernism, culminating in the work of the Impressionists and Post-Impressionists . Since then its demise has often been predicted and with the rise of abstraction, landscape painting was thought to have degenerated into an amateur pursuit. However, landscape persisted in some form into high abstraction, and has been a recurrent a theme in most of the significant tendencies of the 20th Century. Now manifest in many media, landscape no longer addresses solely the depiction of topography, but encompasses issues of social, environmental and political concern.

  • Video

    Images recorded on videotape or on optical disc to be viewed on television screens, or projected onto screens. The medium through which these images are recorded and displayed.