Future Artefacts FM

Future Artefacts FM

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Future Artefacts FM is a bi-monthly talk show hosted by Nina Davies, Niamh Schmidtke and Rebecca Edwards, featuring speculative fiction audio works such as radio plays, short stories, fictional interviews and podcasts. Follow our instagram @futureartefacts.fm for more news, updates and details about the show. Thanks for listening, Nina, Niamh and Rebecca

4D AGO

Seaweed in the Fruit Locker

How can the rhythms of songs incite a crew, family or collective solidarity? Rhys Morgan is the 3rd guest of our ‘as a chorus’ mini series, sharing 3 queer sea shanties from the project and choir, Seaweed in the Fruit Locker. Using Polari, a gay slang used to declare and protect gay people historically, the choir rewrites and performs historic sea shanties to describe queer lived experiences and histories. Founded in 2022, we speak about Morgan’s role in the choir, how queering shanties is a return to their origins, Credits (in order of appearance); Lion’s Den; Written by Rhys Morgan, performed by Seaweed in the Fruit Locker Hell Cats; Written by Sef Penrose, performed by Seaweed in the Fruit Locker I’ve My Own Suggestions Too; Written by Ben Doney, performed by Seaweed in the Fruit Locker Bio; Rhys Morgan is a queer interdisciplinary artist and curator based in Plymouth, UK. His work explores queerness as an operative in everyday experience and the expectations, possibilities, and limitations of how this is expressed. Being based in the South West of England, Morgan’s work often reflects on the heritage and experience of queer people on the peninsula. In 2023 he completed the MFA Fine Art at Goldsmiths, London, being selected for Bloomberg New Contemporaries the same year. He recently worked for the National Gallery with conceptual artist Jeremy Deller, as one of four national Assistant Curators to deliver Deller’s 2025 work The Triumph of Art. Artist @rhys__m Hosts @influential_bro @_rebecca.edwards @niamhschmidtke Music @joemoss1 @jtre_v Broadcast through @rtm.fm

1 hr
12/15/2025

Bastard Fields

What conditions do we gather in? Can this exist without hierarchy, or even a physical space? Most Dismal Swamp joins the second episode of our mini series ‘as a chorus’, sharing audio extracts from the recent film, The Bastard Fields. A mixtape of 3 sketches, each audio builds on the language of historical preachers, reddit forums and social media commentary. They weave a world which asks about the violence or nightmares that instills our need to come together. With Most Dismal Swamp, we discuss the mechanics of making shared spaces, how an art practice can parody this by collaging the works of multiple authors into longer ‘playlists’ that become complex and inconsistent worlds (such as the ones we all live through), and a self-cannibalising process built on pattern recognition, outliers in data sets, and the impact of regional specificities in AI models. We ask how art practices traverse creative production, curation and production to open up space outside of traditional systems and build artistic community both within and around the works being shown. Bio: Most Dismal Swamp is a mixed-reality biome; a place and a practice where a dank miasma of fictions, artists, model worlds, adversarial realisms, external hard drives, camera-tracking data, campfires, opaque rituals, game engines, amateur heresies, visual effects plug-ins, and other animals come together. Emerging from the curation, artwork, and research of Dane Sutherland, Most Dismal Swamp’s multimedia projects involve collaboration and convivial speculation with many other artists. These projects are modular and densely populated, presented across various immersive and bespoke installations and online; Multi-User Shared Hallucinations dredged from the slumgullion swamp of adversarial digital, platform, and neural media. A rigorous ‘acid pessimism’ inspirits the work of Most Dismal Swamp: an acerbic yet playful immersion into the composite hallucinatory lifeworlds, gamespaces, and protocols that make up the hostile architecture of our shared platform-mediated crises. Artist @most_dismal_swamp Hosts @influential_bro @_rebecca.edwards @niamhschmidtke Music @joemoss1 @jtre_v Broadcast through @rtm.fm

1 hr
10/22/2025

CHANTER (Aughinish)

Can choirs be a form of protest, and what kinds of resistance could they provide in the midst of climate crises? Our mini-series, ‘as a chorus’ begins with Niamh Schmidtke’s work, CHANTER (Aughinish). Their 15 minute audio introduces us to an aluminium refinery and it’s impact on the local population. Combining song and audio description, the work brings together its own chorus, inviting us to join their melodies, building from the individual to the collective as our awareness of their injustice intensifies. Together we discuss how the work incites forms of direct action, and the need for collective making. This work was made through the Welcome to the Neighbourhood residency in summer 2025 at Askeaton Contemporary Arts. Askeaton Contemporary Arts is an artist-led organisation based in the west of Ireland since 2006. An ongoing residency programme creates critical cultural encounters in the midst of the Irish countryside each summer, while public programmes and exhibitions in Askeaton and elsewhere over two decades have found innovative public contexts and resilient relationships for new forms of artmaking to emerge. Further resources about Aughinish can be found through https://www.stigmadamages.com/ Voices (in order of appearance); Bernadette Hayes, Inbher Glenn Community Choir, Monya Riachi, Christopher Clery, Grainne Hassett and Akinsola Lawanson. Bio: Niamh Schmidtke (b. Dublin 1997, they/she) is an artist, lecturer and arts facilitator based across London and Limerick. They explore the politics of green washing, economic jargon and the language of democracy through speculation, audio, ceramics and installations, centring intimacy as a form of decolonial praxis. They examine the relationship between listening and speaking, to consider the kinds of voices that deep time, the sea, or humans could have with one another. They currently lecture in the School of Architecture, Limerick, with an MFA from Goldsmiths, London and BA from LSAD. Awards include; Agility Award, Material Futures Residency at Cove Park Scotland and the European Investment Bank’s (EIB) Artist Development fund. They have exhibited across Ireland and internationally including TULCA; Salvage Agency, Galway (2024), Pulling Blood from a Stone (solo), Science Gallery Berlin (2024), DARE 2019, Orpheus Institute, Belgium and PULSE, Limerick City Gallery (2022). Their work is held in public and private collections, including the EIB’s permanent collection. They are a member of Lewisham Arthouse artists’ co-op where they co-organise the Graduate Award with Sara Willet. Artist @niamhschmidtke Hosts @influential_bro @_rebecca.edwards Music @joemoss1 @jtre_v Broadcast through @rtm.fm

1 hr
08/25/2025

Black Holes Act 1: Part 2

For episode 29, we listen to the second half of Black Holes Act 1. This 40-minute radio play by Suley, which holds a mirror up to the UK after last year’s race riots. A re-imagining of Derrick Bell’s 1992 novella ‘Space Traders’, Black Holes is a satirical work of speculative fiction in which aliens offer the UK vast riches in exchange for its Black citizens and a referendum is called on the trade. An Afrofuturistic exploration of critical race theory, this two-part episode asks if progress for racial justice happens only when it aligns with the interests of a White majority. Drawing inspiration from political satires like The Thick Of It, surrealist dramas such as Atlanta and the contemporary Black British storytelling of I May Destroy You, Black Holes employs worldbuilding as a radical tool to deliberately instigate positive change. In this episode we discuss how the work is an attempt to critically reflect on the familiar with which are inextricably bound – and how to change the world, we first must imagine one drastically different to the one we have. Bio: Suley is a playwright, painter, lawyer and lecturer, Suley uses worldbuilding as a radical tool to deliberately instigate change. His latest body of work is an attempt to critically reflect on the familiar with which are inextricably bound. Fusing sculpture, ceramics, print media, film, and sound, Suley continues the Afrofuturist tradition of generating a multiplicity of futures with which to positively affect the present. Artist @suley.art Hosts @influential_bro @_rebecca.edwards @niamhschmidtke Music @joemoss1 @jtre_v Broadcast through @rtm.fm

1 hr
07/07/2025

Black Holes Act 1: Part 1

Black Holes Act 1 is a 40-minute radio play by Suley, which holds a mirror up to the UK after last year’s race riots. A re-imagining of Derrick Bell’s 1992 novella ‘Space Traders’, Black Holes is a satirical work of speculative fiction in which aliens offer the UK vast riches in exchange for its Black citizens and a referendum is called on the trade. An Afrofuturistic exploration of critical race theory, this two-part episode asks if progress for racial justice happens only when it aligns with the interests of a White majority. Drawing inspiration from political satires like The Thick Of It, surrealist dramas such as Atlanta and the contemporary Black British storytelling of I May Destroy You, Black Holes employs worldbuilding as a radical tool to deliberately instigate positive change. In this episode we discuss how the work is an attempt to critically reflect on the familiar with which are inextricably bound – and how to change the world, we first must imagine one drastically different to the one we have. Bio: Suley is a playwright, painter, lawyer and lecturer, Suley uses worldbuilding as a radical tool to deliberately instigate change. His latest body of work is an attempt to critically reflect on the familiar with which are inextricably bound. Fusing sculpture, ceramics, print media, film, and sound, Suley continues the Afrofuturist tradition of generating a multiplicity of futures with which to positively affect the present. Artist @suley.art Hosts @influential_bro @_rebecca.edwards @niamhschmidtke Music @joemoss1 @jtre_v Broadcast through @rtm.fm

1 hr
05/05/2025

The Next New Weird

What is the next New Weird? How might ‘weirding’ help generate collective virtual or physical spaces to resist cultural binaries, and do these amorphic, slippery forms of language provide tools to resist totalising phrases of good and evil? For this episode, we recap the 4 artist works featured on our New Weird mini-series, revisiting questions of how the tools of this literary genre might provide emancipatory places to build new worlds from. Revisiting Philip Speakman’s use of weirding, Jelena Viskovic’s surrealism, Chris MacInnes and Chaos Theory, and Monya Riachi’s rejection of worldbuilding, your hosts thread these themes across the past episodes alongside our own research in a free flowing conversation. Hosts @influential_bro @_rebecca.edwards @niamhschmidtke Music @joemoss1 @jtre_v Broadcast through @rtm.fm

1 hr
03/11/2025

Concerning Geographies: Entangled Histories

Future Artefacts FM host artist Monya Riachi, as part of their New Weird Mini-series. Her work, Concerning Geographies: Entangled Histories, a speculative letter, addresses cartography across the Levante and the UK. Heard here as part of a live performance debuted alongside research unfolding the processes of map making, and their relationships to borders and power as imperial constructions. Monya Riachi is an interdisciplinary artist. Her practice is material driven and research-led, and is explored through sculpture, installation, moving image, sound and writing. Her work centres matter as a site of meaning, narrative and archive, and explores themes around loss, ecological transformation, the politics of land and time. Sound Design support: Cameron McClellan Artists @monya.riachi Host @influential_bro @_rebecca.edwards @niamhschmidtke Music @joemoss1 @jtre_v Broadcast through @rtm.fm

1 hr
01/13/2025

Motonation

Part three of our New Weird mini series features Jelena Viskovic’s Motonation. This 9 minute extract shows us two societies, Happy Nation & The Grid, where we follow Čedo as he decides which group to join. This surrealist sci-fi examines the consequences of individual vs collective desires, referencing Yugoslav performance art from the 1980s, and tools of humour and weirding during Čedo’s journey. Sound Composition and Design: Tamás Marquetant Chedo: Chad (Čedo) Spence Her Sanctuary: Marija Iva Gocić Artists @jelovix Host @influential_bro @_rebecca.edwards @niamhschmidtke Music @joemoss1 Broadcast through @rtm.fm Jelena Viskovic is an artist born in 1989 in Zagreb, Yugoslavia, raised in Belgrade, Serbia, currently living and working in London. Her background is in software engineering and game development. Her work explores the role of gesture and play in relation to the creation and preservation of techno-scientific, political and historical narratives. Her sculptures and moving image works incorporate animated, talking objects that make their way into technologically deterministic, seemingly inanimate systems. Borrowing from a playful, carnivalesque logic, these worlds become rebellious but approachable, attempting to resist the rigid environments of institutions, archives, libraries and databases.

1 hr

Future Artefacts FM is a bi-monthly talk show hosted by Nina Davies, Niamh Schmidtke and Rebecca Edwards, featuring speculative fiction audio works such as radio plays, short stories, fictional interviews and podcasts. Follow our instagram @futureartefacts.fm for more news, updates and details about the show. Thanks for listening, Nina, Niamh and Rebecca

Creator

Future Artefacts FM
Years Active

2022 - 2026
Episodes

32
Rating

Clean
Copyright

© Future Artefacts FM
Show Website

Future Artefacts FM