Afrofuturism's dual timelines explored through Hayward Gallery exhibition and critical history

Afrofuturism encompasses two distinct temporal perspectives: one that reflects on the impact of slavery, illustrated by Ellen Gallagher's artworks featured in the Hayward Gallery's 'In the Black Fantastic' exhibition, and another that links ancient myths to futuristic visions, as seen in Chris Ofili's 2006 sculpture 'Annunciation.' The term was introduced by Mark Dery in his 1994 essay 'Black to the Future,' where he examined alternative futures that transcend the pain of modernity. This genre interrogates the reality of black modernity in the context of racism and slavery, highlighted in Wangechi Mutu's 2013 animation. In 1992, critic Greg Tate critiqued Samuel R. Delany's science fiction, while Delany promoted the concept of fluid identities. Kodwo Eshun, in 2003, characterized Afrofuturism as a means to reclaim counter-futures, with artists like Hew Locke and Kara Walker addressing contemporary identity issues.