The Office of Revised Futures, curated by Rodrigo Orrantia, is an installation of the work of five artists working with photography and collage. The exhibition includes existing works and also a workshop where new work is produced as a live event.
The connecting thread between the works is analogue photographic collage, a genre that belongs to the imagined sphere. Each of the constructed images in the show is presented as simultaneously complete and fragmented, disrupting photography’s straight relationship with time and representation and creating alternative narratives. Each of the artists presented work with art created by photographers and writers.
Lewis Bush’s War Primer 3 is a reworking of Adam Broomberg and Oliver Chanarin’s War Primer 2, which itself is a reworking of Bertolt Brecht’s Kriegsfibel.
Hannah Hughes’ Flatland takes its title from Edwin A. Abbott’s Victorian novella set in a two-dimensional realm: Flatland: A Romance of Many Dimensions. The collages reconfigure fragments of found printed source material, to create speculative new forms, situated somewhere between reproduced images and the physical world.
Fernando Martin Godoy’s Construction Time Again is a series about human intervention on the landscape with a mythical nuance, where we find some timeless constructions of unknown origin and use.
Melinda Gibson presents two book projects: The Photograph as Contemporary Art, a reworking of the well-known photography book by Charlotte Cotton- and Miss Titus Becomes a Regular Army Mac, that uses archival photography.
Mark Murphy’s Remain focuses on the basics of collage, exploring how things are discarded, things are found and parts are removed, yet elements remain.