SUPERFLUX

We are in the 17th (!) year of our practice, so we thought it would be nice to say hi to new followers and old friends! We founded Superflux in 2009, the depths of the credit crunch. From this wild moment of hopefulness we’ve spent almost two decades pioneering speculative design, critical imagination and futures thinking, as a way to imagine other worlds, possibilities, realities; to encourage friends, collaborators and wider communities to make better decisions today. In the studio, we like to say we make futures that our audiences can literally step into, but of course they only come alive through participation from visitors. The worlds we make are just empty spaces or ideas without people, we need audiences to engage for the imagination space to work. So thank you for being with us on this journey - and keep an eye out for what’s coming next. More soon! @anabjain @jonardern Photo credit: @jamie.uk

🚨Announcing our first MAJOR solo show happening in just under 1 month’s time in Vienna. The show is about fictions, narratives and myths. We pick through the detritus of the Anthropocene and ask ourselves - where do we go from here? CRAFTOCENE is our chance to imagine different ways of being, the writing of a collective myth that we shape together. As we attempt to plot a path beyond the waste of the Anthropocene, this kind of endeavour has never been more urgent. There are 3 rooms, with 3 work, plus speculative artefacts and prototypes from the last 5 years displayed beside Weltmuseum objects. As ever, we turn to Ursula Le Guin, specifically the Carrierbag Theory of Fiction: “We’ve heard it, we’ve all heard all about all the sticks and spears and swords, the things to bash and poke and hit with, the long, hard things, but we have not heard about the thing to put things in, the container for the thing contained. That is a new story. That is news.” CRAFTOCENE is our container, a future room, a thought encountering a made object, together imagining other old-growth stories. Come visit us in the Weltmuseum, and help us write the story together. @anabjain @jonardern @weltmuseumwien @claudiabanz1 @polytechnic___ @matt_edgson @carmen.poptiron @_ed_lewis @lvferris @jaxonstickler @moncano @hannaktrn @trackycrombie @badd_esigns #superflux #thecraftocene #weltmuseum

What a joy to be featured on the cover of @el_pais Babelia The deep dive into studio practice and our 17 years of expertise explores the studio’s speculative practice, operating “strictly outside of contemporaneity.” It explains how we plant seeds of imagination that flourish in the hearts and minds of others despite the prevailing and exctractive worldview of a single, irrevocable future. The Spanish text reads: “There is life after the Anthropocene. Halfway between art and critical design, the duo at Superflux imagines, in Vienna, a future of ecological reconciliation and collective repair between people and species based on artisanal technology.” Thank you to Marta Peirano for spending time with us in both London and Vienna, and for such a generous and wide-ranging piece. THE CRAFTOCENE is on at @weltmuseumwien until 16 August 🖤 Photo Credit: @manuelvazquezfoto

How do we want to live in the future, and what do we need to do collectively to get there? This Saturday our co-founder @anabjain joins Nabukenya Allen, Amanda Piña, Indah Arsyad for Planetary Conditions 2126: Art Across Climate, Exploitation, Colonial Legacies and Care, a joint panel by @weltmuseumwien and @biennale.wien moderated by Sithara Pathirana and Stella Asiimwe. At the intersection of design, art, and decolonial practice, the panel will discuss ways to move beyond exploitation and destruction—and critically examines how new approaches such as “More-than-Human” can be reconciled with the historical burdens of ethnological collections without reproducing old narratives. Between speculation and reality, a space emerges for new narratives beyond exploitation—towards an ecology of care. Join us on 9 May at 2pm at @weltmuseumwien , free to all 🖤

The Harvest Seat is a thatched armchair, its frame filled with the annual harvest. We have deliberately misremembered the Le Corbusier LC2 design icon, in its place creating a cyclical ritual whose logic feels foreign yet uncomfortably familiar. The wheat grown, the seat fashioned, the body that surrenders to the vigil, with hands that flick through the prayer beads Crafting the piece meant cutting, cleaning, thatching and binding the straw so the sheaves would hold their form within the frame. The result is a relic, an imagined place where labour was offered up as seasonal, cyclical, necessary and holy. On display as part of THE CRAFTOCENE at @weltmuseumwien until 16th August Chief makers: Jaxon Stickler @jaxonstickler Can of Gas @canofgas Photo Credit: Matthew Edgson @matt_edgson

We are thrilled to be featured in the @financialtimes @ft_weekend Design Special last week! 🖤 Thank you @debikaray for including us in such a thoughtful article on making and materiality, and for bringing THE CRAFTOCENE into a wider story about design that feels more urgent than ever. As @anabjain says: “Left with the detritus of the Anthropocene, the process of making something with our hands, using materials we might otherwise discard, becomes a story about what we can imagine and what we choose to do with what we have.” It is inspiring to see our critical perspective on craft finding a place in design discourse alongside other makers, and to know that our show at the Weltmuseum in Vienna is influencing conversations at Salone del Mobile in Milan and beyond. THE CRAFTOCENE is on display at @weltmuseumwien until 16 August - let us know what you think when you visit!

The Aalto stool began as a utilitarian object but has long since taken on a mythic status in the design world, less about sitting and more about communicating a certain social standing, and a proximity to good taste. That tension between function and desire is exactly what we wanted to chip away with the Stack Totem. Ed spent a week axing away the outer bark of three pine trunks, rough-shaping each one down to the diameter of the stool before Inés took over for three weeks of carving, working through layer after layer of stacked legs to define the shape and sand it to completion. As Ines put it: “the project was treated with the care that a trunk deserves. Not expecting a high end finished product such as the stools, but rather accepting the nature of a tree when it fell.” The Stack Totem is part of our new installation Relics of Abundance, a testament to a past culture - ours - that measured virtue in accumulation and read stillness as failure. The wood will dry over time. It will crack. A monument to accumulation, slowly coming undone. On display as part of THE CRAFTOCENE at @weltmuseumwien until 16 August 🖤

The Stack Totem is a ceremonial object at the heart of Relics of Abundance. It is carved to resemble a column of Alvar Aalto stools. In @weltmuseumwien the Stack Totem is displayed alongside a fragment of scripture that our descendents have gathered, misremembered sayings of their ancestors (us). It reads: “Those who grind daily, denying the temptation of rest, shall stack their bread high so all may witness their righteousness, and the glory of the Market.” In their half-remembered states, the totem and poetic fragment pierce the logic of a culture that elevated labour into virtue, coded idleness as failure, and amassed chairs as a display of success. The stools were carved from the trunk of an invasive species of pine, retrieved from the south east of England in a collaborative act of ecological restoration. On display as part of THE CRAFTOCENE at @weltmuseumwien until 16 August Chief makers: Ed Lewis @_ed_lewis Inés Miño Izquierdo @iminoizq Photo Credit: Matthew Edgson @matt_edgson

How do we mend and attend to a world that needs our care, now more than ever? The Craftocene was born in 2020, in the stillness of a pandemic that stripped away much of what we had taken for granted. The old stories had stopped making sense, and in their place came quieter, more urgent ones; about what we make, what we consume, and what kind of world we are leaving behind. Six-ish years of research, making and imagining gave shape to three bodies of work in Refuge for Resurgence (2021), Nobody Told Me Rivers Dream (2025), and Relics of Abundance (2026), alongside the slow realisation that what we were building was not a manifesto or a conclusion, but a collective myth in the making. Follow along as we unravel the stories that shape THE CRAFTOCENE, now on display at @weltmuseumwien until 16 August Graphic credit: @polytechnic___

Someone, somewhere, sold us a story. That wanting more was progress. That the latest gadget, the newest chair, the freshest sneaker was not just desirable but necessary, a marker of how far we had come and how much further we could go. A singular trajectory, dressed up as reason and called civilisation. Our new work Relics of Abundance described here by Superflux cofounder @anabjain asks what happens when you place that story under a different kind of light. A future civilisation looking back at the Mass-Consumption Era and finding a culture steeped in magical thinking. A volatile deity called the Market, appeased through repeated ritual and collective devotion. Objects imbued with spiritual properties, their true purpose long since forgotten by those who made them. The cause of our collapse, in this imagined future, is still debated. But the artefacts speak for themselves. And in their quiet, eerie familiarity, they make it easier to see what is already true about our present. Relics of Abundance is on display as part of THE CRAFTOCENE at @weltmuseumwien until 16 August 🖤 #klimabiennalewien #weltmuseumwien #superflux #thecraftocene

THE CRAFTOCENE is a space to inhabit, to let the stories and myths it holds work their way into your imagination. With that spirit in mind, @weltmuseumwien has built a programme around the show that extends its themes into lived experience through guided tours, workshops for children and families, barrier-free tours, intimate dialogue sessions, readings and discussions that open the conversation further. Not add-ons, but extensions of the exhibition space where craft, care and ecological reciprocity move off the walls and into the room with you. An ongoing invitation to gather, ask questions, and imagine together. Find the full programme via the link in our bio. Graphic credit: @polytechnic___ Photo credit: @eselat

It is an honour to have our show included in @biennale.wien the 2026 Klima Biennale as a Partner In Climate with our colleagues and friends in Vienna.  The Biennale’s theme, Unspeakable Worlds, reflects something at the heart of our work: that the most urgent realities of our time resist the languages we have for them. In our three rooms at the Weltmuseum, we try to find other languages, through craft, through myth, through listening to what the river is already saying. The myths that hold us are coming undone, and in that dangerous, fertile space, we believe there is room to craft - together - other, more hopeful ones. Explore the festival programme on 9th and 10th April, and come visit THE CRAFTOCENE on display at @weltmuseumwien until 16 August 🖤 #weltmuseumwien #superflux #thecraftocene #klimabiennalewien