Rory Pilgrim – The Open Sky
14 January – 21 February | Opening 13 January, 6.30–8.30pm
For his first solo exhibition in London, Rory Pilgrim presents a constellation of works that explore the relationship between words, age and intergenerational dialogue as a radical proposition. Centred on a new film work that concludes his film trilogy Sacred Repositories, The Open Sky is developed through working with 5 women who lived through the radical movements of the 60s and 70s. Narrated by their words and poetry, the film becomes intertwined with the words and songs of women from younger generations. Exploring ideas of time, family and solidarity Pilgrim attempts to create a home for language past, present and future at Flat Time House that endeavours to allow words to remain a transformative tool of action.
Thinking Through Publishing
12 February, 2016 | 10am–5.30pm Offsite at Central St Martins
Thinking Through Publishing is a peer-learning seminar for arts workers, or students interested in the subject, looking to examine different aspects and ways of publishing within the arts.The programme is designed to consider the possibilities of publishing as an expanded form of their programme. There will be three panels looking at different models, including print, digital alternatives and what publishing aims to do. Speakers include Francesca Vinter (Whitechapel), Christian Hiller (Haus der Kulturen der Welt) and Jane Rolo (Book Works).
The fundraising campaign to raise capital for FTHo Institute to secure its premises and place it on a sustainable footing has proven unsuccessful in the present climate. FTHo will continue with a vibrant programme until the house closes in summer 2016, and thereafter the institute’s ambition is to transform into another manifestation, the details of which are to be announced later this year.
Bandits Live Comfortably in the Ruins Curated by Sean Lynch
3 March – 2 April | Opening 2 March, 6.30–8.30pm
Flat Time House presents Bandits Live Comfortably in The Ruins, curated by Irish artist Sean Lynch. The exhibition broadly explores the attitudes that underpin human relationships to the environment. There is no masterplan of coherence here, or indeed any transcendental experience to be had. Instead, a series of artistic positions, objects and artefacts bargain and improvise through hard-won perseverance and novel invention. This loose grouping proposes no tranquil uniformity or comforts of identifying with history and heritage. Instead, everything constantly mutates, and nothing ever stays the same. Including works by Seanie Barron, Stephen Brandes, John Carson, Burke Kennedy Doyle, Michele Horrigan, Sam Keogh, John Latham, Fiona Marron, Eilis O’Connell, Freek Wambacq and materials from Country Life and British Telecom.
Flat Time House (FTHo) was the studio home of John Latham (1921-2006), recognised as one of the most significant and influential British post-war artists. In 2003, Latham declared the house a living sculpture, naming it FTHo after his theory of time, ‘Flat Time’. Until his death, Latham opened his door to anyone interested in thinking about art. It is in this spirit that Flat Time House opened in 2008 as a gallery with a programme of exhibitions and events exploring the artist's practice, his theoretical ideas and their continued relevance. It also provides a centre for alternative learning, which includes the John Latham archive, and an artist's residency space.
NOIT – 2
Published June 2014
Flat Time House is pleased to announce the publication of the second issue of NOIT, FTHo's creative journal published in conjunction with Camberwell Press. NOIT–2, guest edited by Lisa Le Feuvre, Head of Sculpture Studies at the Henry Moore Institute, considers how burning, an action predominant in Latham's ideas, has been deployed by artists in various ways.