Adapt to Survive: Notes from the Future @ Hayward Gallery

Hayward Gallery revision notes

Hayward Gallery is a part of the Southbank Centre. Opened by the Queen in July 1968, the gallery is one of the few remaining buildings of its style i.e. concrete Brutalism. It was designed by a group of young architects, including Dennis Crompton, Warren Chalk and Ron Herron, and is named after Sir Isaac Hayward, a former leader of the London County Council.

In 2015 the gallery shut down for a few years ago for a complete refurbishment. It re-opened in this, its fiftieth birthday year, with a massive retrospective of German photographer Andreas Gursky. It is now hosting a major retrospective exhibition of Korean artist Lee Bul (which I’ve also reviewed).

These blockbuster shows are held in the massive main galleries, five rooms on split levels reached by spiral staircases and ramps. But in the main foyer of the building is the doorway to Hayward’s other exhibition space, the much smaller HENI Project Space.

HENI Project Space

Whereas the main gallery hosts only two or three big shows a year, the HENI Project Space space is much more flexible and fast, typically presenting six to eight exhibitions a year. The space comprises a short corridor turning into one large room, lined with the building’s characteristic dark grey concrete.

Originally opened in 2007, the HENI Project Space – like its parent gallery – underwent a comprehensive refurbishment and re-opened in January 2018 in its new, bigger, ground floor location (on the right as you enter the Hayward’s main glass doors).

Importantly, whereas entry to the main exhibition generally costs around £14, entry to the project space is FREE (although be aware that the whole Hayward complex doesn’t open till 11am and is closed on Tuesdays).

Adapt to Survive

Adapt to Survive: Notes from the Future brings together one or two artworks each by a group of seven international artists on the common theme of imagining how our world might look and feel in the future.

Ann Lislegaard – Time Machine (2011)

A box about waist-high is made of four mirrors attached by hinges. Two have been unfolded to swing out across the floor. The other two remain closed to form two sides of the box and onto them is projected a ‘cartoon’ fox. The fox is speaking a monologue which is continually interrupted by computer glitches, echoes and buzzing interference. Something is wrong with its programme.

The fox is reciting part of H.G. Wells’s novel The Time Machine (1895) in which the scientist-narrator ponders on the nature of time. The broken narrative by a computer-generated animation reminds us of hundreds of similar glitchy programmes in modern science fiction film, a trope indicating that the future will be heavily technological but that that technology will be flawed.

Having worked on government websites and in government IT for the past eight years, I don’t need anyone to tell me just how flawed and accident-prone modern digital technology can be. This is a visually striking and quite humorous reminder.

Installation view of Adapt to Survive at Hayward Gallery, featuring Time Machine by Ann Lislegaard © Ann Lislegaard. Photo by Thierry Bal

Installation view of Adapt to Survive at Hayward Gallery, featuring Time Machine by Ann Lislegaard © Ann Lislegaard. Photo by Thierry Bal

Julian Charrière – Metamorphism (2016)

Charrière imagines what the world might look like many millennia in the future, when the products that characterise our era have been buried under sediment and re-incorporated into the Earth’s strata. To make his futuristic ‘samples’ Charrière poured 20 tonnes of molten rock over a pile of broken consumer electronics, later applying a chemical wash to the cooled forms to simulate the effects of acid rain. Solid, disturbing.

Installation view of Adapt to Survive at Hayward Gallery, featuring Metamorphism by Julian Charrière © Julian Charrière. Photo by Thierry Bal

Installation view of Adapt to Survive at Hayward Gallery, featuring Metamorphism by Julian Charrière © Julian Charrière. Photo by Thierry Bal

Rainer Ganahl – I Hate Karl Marx (2010)

A TV set is on a plinth showing a film or programme. There are a couple of headphones available so you can listen to the video which turns out to depict a young German woman yelling at a bust of Karl Marx. Except that she’s yelling in Chinese. Because the film imagines a future in which China is the dominant political and economic power and has taken over Europe where all the countries are now communist and everyone speaks Chinese.

If this really were a repressive communist state I suspect a young woman shouting at a statue of Marx would be grabbed by the security police pretty quickly.

You can view the entire video on YouTube.

I like where she calls Marx ‘a fat, dumpling-throwing corrupt Chinese pig’, probably the first time he’s been called that. But quite quickly I started wishing that she’d run off-screen and return with a damp birch branch and start whacking the statue, like John Cleese whacks his Morris 1100 in Fawlty Towers. That would show him!

Unintentionally, perhaps, this piece is quite funny.

Marguerite Humeau – Harry II (2017)

Humeau has created a big and elaborate sculpture which takes inspiration from the ancient myth of the sphinx and then goes way beyond to put it in an eerily modern context.

The three savage-looking sphinxes’ heads now sit atop a weird kind of futuristic fencing, with some worrying organic but prickly bayonet devices down at ankle level. Up close the installation gives off a disconcerting hum like the low hum of electronic surveillance devices. Spooky.

Installation view of Adapt to Survive at Hayward Gallery, featuring Harry II by Marguerite Humeau (2017) © Marguerite Humeau. Photo by Thierry Bal

Installation view of Adapt to Survive at Hayward Gallery, featuring Harry II by Marguerite Humeau (2017) © Marguerite Humeau. Photo by Thierry Bal

Bedwyr Williams – Tyrrau Mawr (2016)

Hanging on the wall is a widescreen monitor showing what at first looks like a glossy photo or artist’s creation of a futuristic cityscape. Only if you watch carefully do you realise that the sun glinting off the skyscrapers is moving very slowly, and then that tiny street lights are flickering on as dusk falls.

This is Bedwyr Williams’s vision of an imaginary mega-city situated in rural North Wales. Put on the headphones and you can hear Williams himself reading out short fictional vignettes describing the lives of the inhabitants of this ideal new metropolis. I’m not giving anything away if I reveal that they are uniformly unhappy and listless. The future is bored and alienated (pretty much like the present, then). Dazzling.

Installation view of Adapt to Survive at Hayward Gallery, featuring Tyrrau Mawr by Bedwyr Williams (2017) © Bedwyr Williams. Photo by the author

Installation view of Adapt to Survive at Hayward Gallery, featuring Tyrrau Mawr by Bedwyr Williams (2016) © Bedwyr Williams. Photo by the author

Youmna Chlala – The Butterfly Already Exists in the Caterpillar (2018)

Artist and writer Youmna Chlala is working on a project titled The Museum of Future Memories. She imagines the city of the future as being a place in flux, a zone of rising sea levels, where seasons have ceased to exist and the remaining inhabitants have forged new ways to live.

Sounds quite drastic and devastated but it in fact turns out that the inhabitants of this future world write neat and poetic graffiti on the concrete walls of their ruins, alongside colourful crayon-style imagery of wildlife. Pretty.

Installation view of Adapt to Survive at Hayward Gallery, featuring The Butterfly Already Exists in the Caterpillar by Youmna Chlala (2018) © Youmna Chlala. Photo by Thierry Bal

Installation view of Adapt to Survive at Hayward Gallery, featuring The Butterfly Already Exists in the Caterpillar by Youmna Chlala (2018) © Youmna Chlala. Photo by Thierry Bal

Andreas Angelidakis – The Walking Building (2004–6)

In the plate glass frontage of the gallery is a TV monitor showing a video portraying a fantasy imagining of a contemporary art museum of the future, a ‘shape-shifting structure that adapts to different environments and needs’. In the video, the museum comes alive, crawling like an animal through the streets of Athens.

The work is inspired by Archigram, an avant-garde architectural collective who championed radical, adaptable urban structures such as The Walking City (1964), and three of whose founding members were involved in the design of the Hayward Gallery. It’s quite fun in a sci-fi special effects kind of way.

Installation view of Adapt to Survive at Hayward Gallery, featuring The Walking Building (2004–6) by Andreas Angelidakis © Andreas Angelidakis. Photo by Thierry Bal

Installation view of Adapt to Survive at Hayward Gallery, featuring The Walking Building (2004–6) by Andreas Angelidakis © Andreas Angelidakis. Photo by Thierry Bal

Thoughts

I grew up reading science fiction in the 1960s and 70s.

After going through phases of reading traditional sci-fi by the likes of Arthur C. Clarke, Isaac Asimov, Philip K. Dick, Robert Heinlein and Olaf Stapledon, I stumbled in the 1970s across the novels and short stories of the English writer J.G.Ballard who gave the entire genre of science fiction a completely new and profoundly disillusioned twist.

Ballard deliberately abandoned the style of sci-fi known as ‘space opera’ – all rocket ships and laser guns – in favour of concentrating on the alienated, estranged lives of people living more or less in the present, but a present distorted by the unnerving reality of concrete high rise buildings, motorway flyovers, multiple vehicle pile-ups on motorways

He titled his stories about the psychological damage being done by the inhuman environments of the present ‘myths of the near future’.

In a similar spirit of disillusion he threw cold water on the boyish fantasies of all those sci-fi writers and film-makers who think mankind will one day colonise other planets and travel to the stars. It’s really simple. No, we won’t. Not only do we not have the money or the technology or the power sources to do any of that, but at a deeper level, people don’t want to. That whole tribe of sci-fi visionaries don’t seem to have noticed that we are having a lot of trouble just surviving on this planet.

Ballard made the controversial assertion that the Space Age ended in about 1973, when the ratings for I Love Lucy were higher than for that year’s Apollo moon landing. Most people weren’t bothered anymore. Seen it. Done it. Got the t-shirt. Of course the Americans went on to build the space shuttle and the international space station and the Indians and Chinese are now sending rockets into space. But do you care? Do I care? Does the population of war-torn Syria care?

Science continues to be done on the international space station and probes are regularly fired off into the solar system and beyond, but humanity will clearly never leave this planet.

Ballard’s fiction paints a vision of physical entropy and emotional accidie which nothing can shift. It is full of empty swimming pools and abandoned motels. And of mannequin-like people talking at cross-purposes. He died before mobile phones intensified the alienation and distance from each other which he had been predicting for so long.

And then he swept the rug from under his own oeuvre by revealing that all those decades of science fiction stories were in fact workings-though in fictional form of his terrible childhood experience of being imprisoned by the Japanese during World War Two, which he revealed in the entirely factual autobiography Empire of the Sun, published in 1984, so powerful it was made into a movie by Steven Spielberg. He wrote more books but – having made a public confession – none of them used the form or language of science fiction, and they were never so good. Like a magician who shows how his tricks are done, the magic had evaporated.

But in the thirty years up to Empire of the Sun, Ballard so comprehensively deconstructed and undermined science fiction’s settings, tropes and assumptions, that there didn’t seem anywhere left to go. Although science fiction has gone on to have a steadily increasing presence in movies and television, it mostly seems to me to deal in themes which I find disconcertingly old-fashioned. Much science fiction seems to me – paradoxically – to be achingly nostalgic.

Take the potentially endless series of Star Wars films which Disney are now going to churn out on an annual basis. Ray guns and space ships? These are themselves redolent of the classic space opera comics and movies George Lucas watched in the 1950s. But on another level all the fans who flock to see these blockbuster movies really just want to see the relationship between Harrison Ford and Mark Hamill and Carrie Fisher recreated – and so are doomed to disappointment.

And so for me, coming from this perspective, it was symptomatic that the first work in this little collection supposedly about the future is in fact based on the story which invented the concept of time travel over 120 years ago. Like so much of science fiction, the animation of the stuttering fox didn’t seem at all new but felt to me old, old, old.

The notion that the big shiny cities of the future will in fact house unhappy, alienated populations (Williams), segregated by menacing razor fencing (Humeau), and that our civilisation will one day decline and fall to be reclaimed by nature (Chlala), the scorched ruins eventually becoming buried under sediment to survive only as fossils (Charrière) – these ideas aren’t just familiar, they are the almost-exhausted superclichés of the genre.

The notion that buildings, or even entire cities, will in the future be able to move to more optimum locations, is at least as old as Christopher Priest’s classic sci-fi novel Inverted World, from 1973, and is about to be blasted into everyone’s consciousness by the forthcoming ‘major motion picture’, Mortal Engines, based on Philip Reeve’s brilliant series of novels about moving cities in a post-apocalypse future, scheduled for release this Christmas.

So influenced by Ballard as I am, I tend to think that if there is any mileage in science fiction, it is in the now, just not in quite the same ‘now’ that most people are looking at. It is in glimpses and intuitions of how human nature is being changed by technology, that are hard to see and even harder to express.

Conclusion

I enjoyed this exhibition, and the opportunity to see samples of the kind of work being made by youngish contemporary artists. But I don’t think it told me anything at all about the actual future which we are all going to live through…


Related links

Reviews of other Hayward exhibitions

Science fiction reviews

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