Artist Harold Offeh transforms Tramway’s front gallery into a playful science-fiction environment exploring Afrofuturism, identity and the possibility of imagining different futures.
The Mothership Collective 2:0 invites visitors of all ages to interact with a series of creative stations using sound, text, objects, costume and play.
Rather than simply observing artwork on a wall, audiences become part of the exhibition.
The project revisits ideas Offeh first developed through The Mothership Collective in 2006, when artists, dancers and musicians worked with members of the public on activities inspired by Afrofuturist mythology and the music and performances of George Clinton.
Afrofuturism has become an important strand of Black cultural expression.
It uses science fiction, fantasy, music, art and technology to imagine futures in which Black people are not marginal characters but central participants in shaping what comes next.
Figures including musician Sun Ra and George Clinton’s Parliament-Funkadelic helped establish a visual and musical language in which spaceships, alternative worlds and futuristic identities could become tools for examining race, freedom and possibility.
Offeh brings that spirit into a gallery designed for participation.
Visitors are encouraged to explore identity through costume, experiment with patterns and sound, investigate imagined habitats and make their own predictions about possible futures.
His wider artistic practice uses performance, video, photography and social participation to engage with historical narratives and contemporary culture.
Running throughout Black History Month, The Mothership Collective 2:0 offers families and visitors something very different from a conventional historical exhibition.
It asks audiences not simply to remember Black history, but to consider Black futures — who gets to imagine them, what they might contain and how creativity can help us think beyond the limitations of the present.