Srđan Tunić

art historian, freelance curator, cultural manager and researcher

Science Fiction Belgrade (Enki Bilal & Aleksa Gajić) + Belgrade Cooperative time travel story (text for Not Afraid of the Ruins, part 2) 2018

Science Fiction Belgrade

Imagining different realities in the works of Enki Bilal and Aleksa Gajić

by Srđan Tunić

This essay is the second in a “mini-series” of two essays on the critical potential of science fiction. The first essay considered how science fiction can function as social critique and discussed different literary techniques and devices. This second one will expand the story in reference to concrete examples—works by Enki Bilal and Aleksa Gajić, grounding the analysis in the Balkan context. (And if you continue reading to the end, there may be a surprise waiting for you there …)

You can read the whole text here: http://unevenearth.org/2018/06/science-fiction-belgrade/

About Not Afraid of the Ruins:

Not afraid of the ruins is a new collaborative writing project for utopian dreamers, other-worldly explorers and psychonautic adventurers, scholars, activists, students, and critics. Over the past year, we’ve collected  stories and critical essays, reviews and poetry—all dedicated to science fiction, climate fiction, and utopian imaginings. The goal of this section is to regularly showcase new, original, creative and critical reflections to foster intimate and productive conversations across the intellectual and creative arts.

The fertile ground between science fiction and social/environmental justice has long been an arena for speculation and exploration by academics, activists, and creative writers. From the academy to the field and beyond, the works of science fiction writers such as Octavia E. Butler, Ursula Le Guin and Margaret Atwood (among many, many others) have presented unique corollaries to the diverse worlds and experiences we encounter in political ecology and social/environmental justice research and activism. Our goal with this project is to create a space explicitly open to exploring such convergences, a space that is neither formally academic nor wholly creative fiction, but instead, in the true spirit of Ursula Le Guin’s The Dispossessed, seeks to tap the potential that exists in the liminal space between these otherwise isolated worlds of thought. We hope that such an endeavor will produce seeds for imagining that will go forward and populate unexpected places both far and near.

 

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