“Fiction captures the truth, and at the same time, what it conceals.” —Marcel Broodthaers “All the World’s Futures” is a pretty grim supposition, if not a dismal, somewhat dizzying “iterative choreography,” to quote this year’s Venice Biennale curator Okwui Enwezor. Those futures are in fact meant to be a barometer of the present, with evidence of the current tumult reverberating around the globe, in some cases, the symptomatic, cyclical manifestation of post-colonial mess and melancholia. It’s no big secret that the world is in a state of disorder (as it has been before, and worse, say between 1938-45 or during successive genocides), and shall be in those plural future tenses—future proche, simple, antérieur, et conditionnel—with a diversity of experience ripe for the dissemination of societal trauma and states of emergency.…