Mapping Future Imaginaries: an interactive salon exhibition

The international network of artists in Mapping Future Imaginaries explore speculative possibilities and actions toward utopias during times of uncertainty and flux. We imagine future citizens and new civics, de-centred humanity, extraction, consumption, settler-colonial subjectivities, multi-species collaborations, and ways of being with alterity.

This online salon exhibition explores alternatives to current structures and prejudices through speculative projects concerned with deep listening to local habitat, exploring circular economies through performance, and creating spaces for imagining nascent environments. Our cross-elemental collaboratory extends reparative possibilities for other possible climate futures and activates scientific materials to understand how atmospheric knowledge is materialised.

Counter mapping practices provoke explorative ideas and possibilities for future living. We create archaeological, mythopoetic maps, transborder collaborative taxonomies to re-inscribe the world and experiment with posthuman strategies for mapping neighbourhood plants to imagine more-than-human futures.

Collectively we speculate on possible worlds to come by critiquing capitalism’s effects. In asking, how might our relationships with imagined planetary futures be more fruitful if they begin from a process of listening to and drawing from different wisdoms, we experiment with strategies for living in an altered world, improving well-being and supporting system resilience.


Explore the salon collection in the image gallery, then read about each of the artist’s works below. Links to video works are included in the project statements and you are encouraged to visit these.

Collaboration and interaction zone

At the base of this page is a link to a Miro Board. Here, you are encouraged to interact with the salon collection by adding your visual and written responses, your own works and provocations. The artists in the Mapping Future Imaginaries salon exhibition have created some provocations to prompt your ideas and experiments. Over time, we expect the Miro Board to extend the themes and ideas in the salon exhibition, and we hope this collaboration and interaction zone will grow into a rich and interesting space of exchange about future imaginaries.

Linda Knight

Liana Psarologaki

Drawings and moving image are positioned at the intersection of fine art and architecture. A preoccupation with the concept of immanence and Bergsonian time as chronos and aion helps create achronous maps that are based on archaeological, mythopoetic and contemporary references. The maps are imaginative and evoke personal affective redolence of place.

Kit Wise & Nina Hamilton

Species Hotels was a public art work and school engagement curatorial project that engaged artists, designers and scientists at the University of Tasmania with the specific Midlands community and local school of Ross, Tasmania. It fosters connections with students, research candidates and academic staff to help restore native animals’ habitats. In doing so, it developed innovative approaches to curriculum design in tertiary and primary education contexts; as well as models of interdisciplinary collaboration between science, art, design and education, addressing place-based and environmental concerns.

Sophia Dacy-Cole & Mills Dacy-Cole

We create interactive performances that critically explore food sources with locally-gathered food, plants, and soil. In 2022, we are thinking with soil. We are learning from the Fawkner Food Bowls Community Garden about how, in the midst of serving their community through a lockdown food crisis, they discovered that their soil was poisoned. We are learning about the work that is done to, and with, poisoned soil. We are learning about the plants that ease poison. We are learning about the world that emerges when we ease into relation with the strange others that give us life.

Megan McPherson

In this series of paper bag art works, I attend to the measuring of emotional and cognitive affects of being in a place and space. I work with the notion of unease, how it is carried with us, and how it is gauged. I am considering how this affective heaviness permeates what we do. Voluminously heavy and weightless, all at the same time; these leaky paper bags are made to measure and carry anxious thoughts.

lynn mowson

mowson’s Museum of Carnism and Museum of Forgotten Objects negotiates the well worn museological trope of the future museum (utopian and dystopian) as a method to recontextualise and destablise the meanings of contemporary objects related to the consumption of animals, in all its forms. 

Ben Spatz with Nazlıhan Eda Erçin and Agnieszka Mendel

Judaica: An Embodied Laboratory for Songwork maps potential futures for the laboratory as a site of complex making and for the audiovisual document as means of knowledge transmission beyond logicentrism. The Judaica project explores contemporary (jewish) identity in an ethnotechnical mode, seeking to invent new ways of doing and being jewishness in a critical materialist and decolonial frame.

Benjamin Sheppard

Scribble Me This… is an ongoing and unfinishable project that offers in-progress works on paper as registrations of national identity construction. Developed out of a PhD (which concluded that it can’t conclude) the notion of fixed group representation, of an identity so multi-faceted and historically problematic as the contemporary Australian, is challenged by this continuum of open-ended works. An invisible world of nebulous ideas and contemplations are made visible in a continuum of marks made as if registering a personal thought process–like an after-image of the mind captured on paper. 

Towards Atmospheric Care

The artists Hanna Husberg and Agata Marzecova have produced an Atlas of Auroral Forms to critically explore atmospheric ethics and futures.

Leah Sandler

A speculation on a possible world to come, a critique of capitalism’s effects on the body is explored through my para-fictional research institute, the Center for Post-Capitalist History. Existing through conceptual and performative practices, CPCH  presents the viewer with a thoroughly branded corporate identity implying the existence of a real institution with a goal of creating new methods of writing history during times of extremis. 

Perdita Phillips

I see one role as an artist is to create spaces for imagining alternative environmental futures; of creating ‘anticipatory archives’ not already in existence. One strategy is to fold the past into the present and further, looking at what might have been perceived as an archive or place where records are kept as a story about the past. Flipping time to make the past talk of the future, and through fiction make what is not yet envisaged, part of what is already chronicled.

Jacklyn Brickman & Kathryn Nusa Logan

A speculative entity situated within The Department of Planetary Futures, the The Seed Simulation Laboratory and Mission Nucleus asks: How might our relationships with imagined planetary futures be more fruitful if they begin from a process of listening to and drawing from the wisdom of plants? How might humans and nature be better served collectively if humans practice plant-based survival tactics? What are the human bodily limitations in attempts to practice seed dispersal mechanisms as a human survival tactic?

Mapping Edges

Ilaria Vanni and Alexandra Crosby, as Mapping Edges created The Plantiness of Bankstown to take the plants living in the neighbourhood as a starting point for imagining a more than human future. Mapping Edges designs experiences and artefacts for exploring and extending the relationship between plants and people in cities.

Sarah Jane Moore

Deep listening and learning manifests from manipulating and re-interpreting the natural world.  Tapping into the memories that land holds for us opens dialogues that may have been sleeping. Mapping networks, stories and connections for Moore is about grinding materials and harvesting from mother earth. Developing songs and images that imagine life before the humming of concrete, enable old and elusive stories to be told and heard. Imagining new ways to tell old stories becomes a life-long pursuit.

Kimbal Bumstead

Sonic Landscapes is a participatory project which explores the physicality of drawing as a tool to tune into and represent embodied experiences of sonic environments. How does the sound around us make us feel, and how does that feeling translate into drawing? The project consists of contributions from people around the world in the form of drawings and audio recordings, woven together into an audio collage and a map of an imaginary sonic landscape. This work is about deep listening, and exploring how creative practice offers a chance to re-mix or re-imagine the spaces and places we inhabit. 

Jo Pollitt, Maitland Schnaars & Lilly Blue

Feminist Responses to Climate Change features work developed across three Western Australian research collaboratories: Water, Weather, and Waste, to extend reparative possibilities for alternative climate futures. These works connect here as a duet of print and video work, ink bloom rising by Lilly Blue and kep waanginy by Jo Pollitt, Mailtand Schnaars & Lilly Blue, to reveal movements of complex Weather and Water bodies as vital to thinking with future imaginaries.

Alys Longley, Linda Knight, and Máximo Corvalán-Pincheira

A Tilting Body of Precarious Maps by Alys Longley, Linda Knight, Máximo Corvalán-Pincheira, in collaboration with artists from across the world is a series of maps. Co-created through strategies aimed at bringing artists to touch across borders in times of extraordinary border control, the postal artworks to allow our touches to meet across time. Digital maps collaboratively re-write the world. We consider each of these strategies for envisaging future utopias and co-imagining new possibilities for connection.

Linda Knight

Mapping Extinction speculates on how we might map nature and wildlife in future. Taking the devastating effects of the 2020 Australian bushfires as a starting point, the dis-located specimen drawings in their blue colour are a deliberate pun on the idea of recording something in perpetuity. The works comment on the long-term impacts of colonisation on Indigenous lands, enacted through the catastrophic effects of bushfires that occur more frequently due to improper land knowledge and management.

Mapping Future Imaginaries salon exhibition – collaboration and interaction zone

Click the link to access the Miro board. Once in the board, you will be able to access basic instructions on how to post notes and upload images:

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