The future was once a place of boundless possibilities. Two decades ago, Tomorrow’s World, the pioneering science show by the BBC, ended after a successful run of 1,400 episodes. Since its inception in 1965, the series had been showcasing inventions and ideas for the near future, inspiring creative thinking and innovation. From commonplace products like artificial grass, pocket calculators, mobile phones, and robotic vacuum cleaners to more imaginative concepts like robot snooker players, paper underwear, and worm omelettes, Tomorrow’s World pushed the boundaries of imagination.
While the early episodes of the show portrayed 60s optimism and later episodes in the 90s dreamt of a better future, the reality of the planet today appears grim. We are facing a global climate emergency, with extreme heatwaves occurring worldwide. Closer to home, England saw a fourfold increase in wildfires last year, and the cost of flood damage due to the crisis could rise by 20% annually. The idea of worm omelettes doesn’t seem too far-fetched now.
Understandably, art in recent years has turned its gaze towards the future of the planet, much like Tomorrow’s World. In 2018, artist Michael Pinsky created Pollution Pods, an installation at London’s Somerset House, which filled five dome structures with the particulate matter from five different cities. Another exhibition, Our Time on Earth, held at the Barbican in London, showcased 18 works from artists around the world, envisioning possible futures for the planet. One example was Liam Young’s film Planet City, which depicted a future mega-metropolis with a population of 10 billion, inspired by biologist EO Wilson’s idea of regreening and inhabiting only half of the Earth.
In a similar vein, the current Hayward Gallery exhibition titled Dear Earth features works by 15 international artists that delve into the psychological and spiritual aspects of the climate crisis. These exhibitions explore various facets of society, politics, economics, and nature. The BBC Earth Experience in London, for instance, immerses visitors in the world of wildlife through its digital displays narrated by David Attenborough.
These exhibitions have deep roots, with the Royal Academy’s 2009 exhibition Earth being a significant starting point. This groundbreaking exhibition used abstract art to examine the climate, eschewing the typical portrayal of penguins and icebergs in favor of evoking aesthetic responses from viewers.
The Eden Project, which opened in Cornwall in 2001, offers a multisensory approach to inspire action. Visiting the project allows people to experience the sights, sounds, and even smells of different ecosystems. The project has attracted over 1 million visitors annually and will soon open a marine venue in Morecambe, Lancashire. The Eden Project’s creative head, Sam Smit, believes that this immersive approach helps people envision a different world and feel inspired to make changes.
The Eden Project also uses technology to provide unique perspectives, such as seeing the planet through the eyes of other species. They have developed an app called Pollinator Pathmaker, which allows users to explore gardens from a bee’s perspective. Another project, Vegetal Transmutation, is an audio experience that encourages listeners to perceive the world as a plant would. For a more extreme viewpoint, the film Kinommic Botany takes viewers into the world of plants, challenging the human-centric view of our environment.
These exhibitions not only offer a glimpse into the future but also serve as catalysts for change. Luke Kemp, curator of Our Time on Earth, believes that they help people visualize a different world. The senior arts curator of the Eden Project, Misha Curson, highlights the power of immersive experiences in motivating action, as opposed to relying solely on the overwhelming apocalyptic narratives often seen in the media.
However, the question remains: does eco-art actually motivate us to take action? A study conducted at the Norwegian University of Science and Technology examined the impact of Michael Pinsky’s Pollution Pods on visitors’ behavior. It found that the exhibition increased people’s intention to take action, but very few actually followed through by tracking their climate crisis emissions, as encouraged by the exhibition.
Research by Laura Kim Sommer and Christian A Klöckner later categorized environmental art into four groups: comforting utopia (positive visions of a better world), challenging dystopia (negative scenarios), mediocre mythology (imagery based on folklore), and awesome solutions (beautiful representations of nature with actionable outcomes). They found that only three out of 37 artworks had a positive behavioral impact, all falling into the “awesome solutions” category. These artworks were visually stunning, exhibited outdoors, showcased the effects of human behavior, and offered something novel.
Malcolm Miles, author of Art Rebellion: The Aesthetics of Social Transformation, expresses skepticism about the effectiveness of eco-art that veers away from realistic depictions of nature. He believes that overly abstract or fantastical representations may numb viewers emotionally and lead to inaction. He also warns against the pitfalls of climate art that attempts to convey positive messages but falls short in terms of artistic quality or impact.
Nonetheless, there is hope when eco-art actively envisions alternative futures. By doing so, it reinforces the idea that there are always alternatives to the way things are, and that we have the power to create change. As we stand at the crossroads of climate crisis, art can play a vital role in inspiring action and shaping a more sustainable future.
In 1989, an episode of Tomorrow’s World showcased a family home in 2020, accurately predicting many technological advancements. While the reality of our present and future may seem daunting, it is important to remember that our collective actions can shape what lies ahead.
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