Project Review: ‘Making Room for Abolition’, by Lauren Williams
This review positions Lauren Williams’ installation ‘Making Room for Abolition’, shown in ‘Monolith’ at Red Bull Arts in Detroit, as a speculative design project that presents a two-fold critique: one directed at US society and the other, at speculative design itself. As a discourse and practice, sp...
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| Autor*in: |
Aggie Toppins [verfasserIn] |
|---|
| Format: |
E-Artikel |
|---|---|
| Sprache: |
Englisch ; Spanisch |
| Erschienen: |
2023 |
|---|
| Schlagwörter: |
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| Übergeordnetes Werk: |
In: Diseña - Pontificia Universidad Católica de Chile, 2023, (2023), 22 |
|---|---|
| Übergeordnetes Werk: |
year:2023 ; number:22 |
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This review positions Lauren Williams’ installation ‘Making Room for Abolition’, shown in ‘Monolith’ at Red Bull Arts in Detroit, as a speculative design project that presents a two-fold critique: one directed at US society and the other, at speculative design itself. As a discourse and practice, speculative design offers a model for designing in socially-oriented, post-capitalist contexts, but it has yet to fully unmoor itself from colonialist ideology. I present common critiques of speculative design—specifically: the lack of attention to race- and class-based struggles, the assumption that time is absolute, and its stance that preferable futures must be plausible—to show how Williams addresses these shortcomings while centering Black experiences and imagination in a dream of abolitionist futures. |
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<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>01000naa a22002652 4500</leader><controlfield tag="001">DOAJ094962553</controlfield><controlfield tag="003">DE-627</controlfield><controlfield tag="005">20240413083740.0</controlfield><controlfield tag="007">cr uuu---uuuuu</controlfield><controlfield tag="008">240413s2023 xx |||||o 00| ||eng c</controlfield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-627)DOAJ094962553</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)DOAJc6dc14509c58411ea817d5aad20c8a7a</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-627</subfield><subfield code="b">ger</subfield><subfield code="c">DE-627</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1=" " ind2=" "><subfield code="a">eng</subfield><subfield code="a">spa</subfield></datafield><datafield tag="050" ind1=" " ind2="0"><subfield code="a">NC1-1940</subfield></datafield><datafield tag="100" ind1="0" ind2=" "><subfield code="a">Aggie Toppins</subfield><subfield code="e">verfasserin</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Project Review: ‘Making Room for Abolition’, by Lauren Williams</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="c">2023</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">Text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">Computermedien</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">Online-Ressource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">This review positions Lauren Williams’ installation ‘Making Room for Abolition’, shown in ‘Monolith’ at Red Bull Arts in Detroit, as a speculative design project that presents a two-fold critique: one directed at US society and the other, at speculative design itself. As a discourse and practice, speculative design offers a model for designing in socially-oriented, post-capitalist contexts, but it has yet to fully unmoor itself from colonialist ideology. I present common critiques of speculative design—specifically: the lack of attention to race- and class-based struggles, the assumption that time is absolute, and its stance that preferable futures must be plausible—to show how Williams addresses these shortcomings while centering Black experiences and imagination in a dream of abolitionist futures.</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Speculative Design</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Critical Design</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Abolition</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Design Futures</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Afrofuturism</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Drawing. Design. 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