Brexit politics and feminist prophecies: Candida Powell-Williams’s tarot deck
by Edwin Coomasaru
In the run up to the 2019 UK General Election, when competing visions of both the future and the past were shaped by endless opinion polling and press predications, Candida Powell-Williams exhibited The Gates of Apophenia (2019) at Bosse & Baum, London. The sculptural installation reimagines tarot cards with a feminist politics to explore the longstanding associations between women and magic. The project also reflects on speculative ideas of feminist or queer time, which challenge Enlightenment narratives of liberal progression, which have long been used to justify empire and oppression.
While fourth-wave feminist activism and art has taken up witchcraft as an image in recent years,1 as a magical practice tarot puts pressure on normative ideas of time. The card game originated in sixteenth-century Italy before transforming into a divination tool in eighteenth-century France, where it was infused with Egyptian symbols at the same time Napoleon was invading the country and looting their artefacts.2 Tarot then crossed the channel to the United Kingdom, a country that has long held the mainstream view that occult belief is the sole preserve of ‘primitive’ people or of ‘feeble-minded’ women, even while practices such as Spiritualism have enjoyed popularity in Britain (including among scientists) for centuries.3