In the Black Fantastic review – reaching for tomorrow’s art world

<p><strong>Hayward Gallery, London<br></strong>Eleven contemporary artists inspired by Afrofuturism consider possible futures with a hopeful, fizzing energy</p><p>Of the many themes addressed by In the Black Fantastic, a new exhibition inspired by Afrofuturism at the the Hayward Gallery, the negotiations of the Black body is perhaps the most resonant.</p><p>Take Chain Reaction, a dramatic new commission by the American sculptor Nick Cave, which sees casts of the artist’s arm, joined together in both unity and struggle, hang from the ceiling, fingers grasping for each other. Elsewhere, Cave’s Soundsuits – colourful costumes that cover the wearer’s face and body – loom with unsettling yet celebratory fervour. When in movement, as part of Cave’s performances, they ensure that the Black male body is seen. It is no coincidence that Cave’s first Soundsuit was made in 1992 following the Rodney King beating in Los Angeles. Soundsuit 9:29, the latest iteration on display here, is a homage to George Floyd and the duration of time former Minneapolis police officer Derek Chauvin knelt on his neck. For Cave, taking up space and sound is a form of protest and a means of envisioning new realities.</p> <a href="https://www.theguardian.com/artanddesign/2022/jun/28/in-the-black-fantastic-review-reaching-for-tomorrows-art-world">Continue reading...</a>