FIRST HAND An exhibition by /origin\forward/slash\
29 September–5 November 2023 Preview: Thursday 28 September 6–8pm
Sacha Golob, Marie Hay, Johanna Malt, Hester Reeve and Mark Titmarsh with Jan Hopkins
First Hand is the culmination of a three year digital placement at Flat Time House by /origin\forward/slash\, a group of artists and philosophers working together to collaboratively produce new artwork and ideas. Group members have an array of different approaches, some specialising in making, others in writing, often meeting in the hybrid space between. They are led by artist Hester Reeve and in association with the Centre for Philosophy and Art, King’s College London, and have met since 2018 to investigate the relationships between philosophical thinking and art practice.
What is Power? Jeremiah Day with the Fred Rogers Dewey Legacy Project and Dana Berman Duff, featuring a talk with JoAnne Bland
3 June–9 July 2023
Preview: Friday 2 June 6–8pm, performance by Jeremiah Day at 7pm
Online talk by Civil Rights Activist JoAnne Bland: Tuesday 27 June 7pm
Flat Time House is pleased to partner with Arcade to present What Is Power? a new exhibition by Berlin based American artist Jeremiah Day. Using photography, performance, text and installation, Day investigates art’s capacity for the civic and re-examines political conflicts and resistances. His personal narrative style unfolds subjective traces to ground political thinking in tender experience.
CHRISTOPHER STEENSON: BREATH VARIATIONS
12 May–14 May 2023
Opening Friday 12 May, 6–8pm
Sunday 14 May 3pm: Artist in conversation with exhibition curators
Breath Variations is a new body of work created by Irish artist Christopher Steenson (b. 1992) for Flat Time House. Using sound, video, and transmission-based methodologies, Breath Variations will explore the materiality of time – its permanence and evanescence – and the power that attention has over its transmission and state of matter. By manipulating and extending the sonic dimensions of Flat Time House, Steenson investigates the capacity of breath as a ‘least event’ – Latham’s term for the shortest departure from a state of nothingness – to punctuate linearities of time and space.
Breath Variations is part of the MA Curating Contemporary Art Graduate Projects 2023, Royal College of Art, in partnership with Flat Time House. Curated by: Cindy He, Thomas Cury, Salomé Jacques, Romy Lagesse, Napas Mangklatanakul, Ariana Martin, Liyin Wang and Hyora Yang.
BOYLE FAMILY DIG
Exhibition open Wednesday–Sunday 12–6pm
And by appointment from 17 October to 1 November
email to book: [email protected]
To mark the upcoming publication of Untitled (1956) – Red, Green and Yellow – Gone Fishing on 1 November, Flat Time House will screen a rarely seen film documenting Dig, a 1966 event organised by Boyle Family under the name ‘The Institute of Contemporary Archaeology’. The site of the happening, a roped off section of a demolition site in Shepherds Bush, turned out to be the site of an ornamental garden statue factory. Thirty or so diggers in three hours excavated hundreds of broken statues, moulds and tools.
At FTHo examples of these excavated sculptures will be exhibited alongside footage of the original happening. For Mark Boyle "the view that anything that exists is part of the contemporary environment... an object is not unworthy of our interest because it happens to be old or damaged or picturesque."
Gone Fishing Boyle Family, John Latham, Marlie Mul and Damien Roach
16 June–17 July 2022 Opening Thursday 16 June 6–8pm
Gone Fishing is the third in an ambitious trilogy of exhibitions produced in collaboration between Flat Time House (FTHo) and the Roberts Institute of Art (RIA). Each exhibition explores a different facet of the complex network of ideas surrounding John Latham’s work in dialogue with important works from the David and Indrė Roberts Collection. The final part of the trilogy expands from the relationship between Latham and Boyle Family, drawing on both artists’ pioneering work in understanding sculpture as conceptual art and central participation in the cross-pollination of popular culture and the avant-garde. Significant works from both artists are presented alongside sculptures by contemporary artist Marlie Mul and a newly commissioned audio installation by Damien Roach.
Red, Green and Yellow Tim Head, Julius Heinemann, John Latham, Bob Law, Liliane Lijn and Wolfgang Tillmans
28 April–29 May 2022 Preview: Thursday 28 April 6–8pm
Red, Green and Yellow is the second in an ambitious trilogy of exhibitions produced in a collaboration between Flat Time House (FTHo) and the Roberts Institute of Art (RIA). Each exhibition explores a different facet of the complex network of ideas and relationships surrounding John Latham’s work in dialogue with important works from the David and Indrė Roberts Collection. Part II of the trilogy builds from Latham’s vivid spray-painted work Red, Green and Yellow (1967) which is presented alongside minimal and conceptual works by Liliane Lijn, Tim Head, Bob Law and Wolfgang Tillmans. These works all experiment with light, space and duration and resonate with Latham’s belief in reflective and intuitive modes of working. A new work has been commissioned in response to the exhibition by Berlin-based artist Julius Heinemann whohas devised a new installation specially conceived for the space.
UNTITLED, 1956 Phyllida Barlow, Bram Bogart, John Latham, Grace Ndiritu and Antoni Tàpies
10 March–10 April 2022 Preview Day Thursday 10 March 12–8pm
Untitled, 1956 is the first of an ambitious trilogy of exhibitions produced in collaboration between Flat Time House (FTHo) and the Roberts Institute of Art (RIA). Each exhibition explores a different facet of the complex network of ideas and relationships surrounding John Latham’s work in dialogue with important works from the David and Indrė Roberts Collection. Throughout his life, Latham was relentlessly experimental in his choice of medium, rapidly moving between materials yet always applying a rich symbolism to his use of each. This first exhibition brings together a key early piece by Latham, Untitled, 1956, with impressive works by Phyllida Barlow, Bram Bogart and Antoni Tàpies, which share with Latham an intuitive investigation into material quality, presented alongside a new commission by Grace Ndiritu.
Anna Barham /S/T/R/O/B/E////L/I/C/K////
25 November – 13 February | Exhibition closed for the winter holidays from 18 December, reopening 6 January
Now forget everything you ever k-n- ew or thought or saw, and imagine there was nothing, nothing a-t all. A blank, dark nothing.
Working between text, live event, video and installation, Anna Barham uses the written and spoken word as a source and as medium. Her artwork explores how language transforms, and what subjectivities are created as it moves between different bodies and technologies over time. Her solo exhibition for Flat Time House, produced in collaboration with partner Arcade, is the culmination of five years of engagement with John Latham’s writing and with his archive.
Ntiense Eno-Amooquaye ART DECO ZEBRA CROSSING
14–31 October 2021 Open Thursday–Sunday 12–6pm
Flat Time House presents Art Deco Zebra Crossing, a new performative exhibition by Ntiense Eno-Amooquaye in collaboration with Intoart.
Amooquaye’s practice integrates the visual, written and spoken word through print, text, image and live performance. For this project, after two years in discussion with John Latham’s poetry, writing, and the domestic space of FTHo she has brought these elements together for a new performance piece alongside a series of new paintings.
Central to the presentation is a stage set comprised of a velvet dressing screen and silk wall hangings that act as a backdrop for the performance of a poem written and performed by Amooquaye and presented here as a short film. The works are made with the domestic scale of Flat Time House in mind. To perform the poem, she has designed a bespoke printed silk dress featuring hand drawn motifs that reference recurring themes in the text. Completed in 2021, the performance builds on previous performances 'The Vocal Project' at Peer, London (2018), and ‘Dress Poems’ at Museum Texture Kortrijk, Belgium (2017) exploring the intersections of writing, scenography and performance.
ARCHIVE OF DESTRUCTION
Launches online 3 June 2021
Archive of Destruction is a story-telling platform that brings together narratives around destruction and public art. Spanning a hundred years and many continents, it tells cumulative stories of vulnerability, interference, rage, fear, boredom and love. Flat Time House is a partner of the project which has been developed by independent curator and writer Jes Fernie. A programme of online talks will be hosted by FTH in June and July 2021, and a newspaper will be launched at the house in winter 2021.
ANTS AND GRASSHOPPERS: reflections on the anxious object
20 May–27 June 2021 Preview Day Thursday 20 May 12–8pm Open Thursday–Sunday 12–6pm
Pavel Büchler, Eva Kot’átková, John Latham & Sarah Lucas with musical composition by John Cage
Curated by David Thorp
‘The status of art has become uncertain. At least, it is ambiguous. No one can say with assurance what a work of art is—or, more important, what is not a work of art. Where an art object is still present it is what I have called an anxious object: It does not know whether it is a masterpiece or junk.’ 
ANTS AND GRASSHOPPERS: reflections on the anxious object examines whether or not art can have the capacity to subvert, and indeed, create anxiety. Does the art object have that potential? Or is any anxiety that abounds rather an indication of its maker’s existential state? This exhibition queries whether the ‘psychophysical sculpture’ that is Flat Time House could be an example of an anxious object. Alongside the newly restored book sculpture that transects the façade of the building, is presented the work of three contemporary artists, and a musical composition by John Cage, for each of whom in different ways this condition is evident.
 Harold Rosenberg. On the De-Defininition of Art, University of Chicago Press,1983. p12
AND WHAT CAN WE SAY TO BE GOING ON NOW…? Flat Time House is temporarily closed in line with government guidance from Thu 5 Nov.
Exhibition Closed until Further Notice
Flat Time House re-opens with a selection of works by John Latham that reflect on a period of action, political critique and protest untaken by the artist in the mid to late 1980s. Using archival material and artworks from the John Latham Archive and the John Latham Foundation collection we can consider his sometimes audacious intent, with the knowledge of outcomes, at times ineffectual or unnoticed.
THE BARD WILLIAM BLAKE AT FLAT TIME HOUSE
30 January–8 March 2020
Opening 29 January 6–8.30pm with a reading from William Blake's Jerusalem by poet Chris McCabe.
With contributions from Keith Jarrett, Chris McCabe, Niall McDevitt, Robert Montgomery, Karen Sandhu, Iain Sinclair and Tamar Yoseloff
Curated by Chris McCabe in partnership with Flat Time House and Magnus Rena of the Sir Denis Mahon Foundation
This exhibition gives a unique opportunity to view Blake’s work in the domestic environment of Latham’s home – the ‘living sculpture’ of Flat Time House and embodiment of Latham’s worldview. The show is also an opportunity to bring Blake back to Peckham, at a site close to the Rye where, as a young boy, he had his vision of "a tree filled with angels, bright angelic wings bespangling every bough like stars.”
OFFER FOR SALE
14 September–20 October 2019 Preview: Friday 13 September 6.30–8.30pm
Offer for Sale is an exhibition that looks at John Latham’s conceptual understanding of art and economics shaped by his involvement in the Artist Placement Group. Central to the exhibition is a reconstruction of the previously lost seminal work Offer for Sale (1974).
Offer for Sale is a radical proposal, a financial report detailing the activities of the Artist Placement Group and presented to the Arts Council on the occasion of the 1971–72 Hayward Gallery exhibition inn7o – Art & Economics. It was then represented for exhibition as a display structure at The Gallery, London in 1974 with the support of the then artist-directors, Nicholas Wegner and Vaughan Grylls.
Using original archival documents and artworks, this exhibition contextualises this artwork within Latham’s understanding of economics including exposition on the alternative to pound sterling ‘unit of attention’ Latham designated as ‘delta’ (Δ).
OFFSITE — Distress Over Parliament FTHO AT LÍTOST, FOAF, PRAGUE
30 August–15 October 2019
Athanasios Argianas, John Baldessari, Julius Heinemann, John Latham & Rachel Reupke
Preview: Friday 30 August 4pm
Exhibtion open: Tuesday – Saturday 1–7pm
Vlkova 23, Žižkov, Prague, Czech Republic
distress over parliament
to mark the occasion of its assent to acts of official censorship, conversion and contempt of truth, the bearing of false witness and assassination by stealth under cover of Royal Charter…
will take place during Sunday, 1st May, 1983
lítost gallery is hosting Flat Time House as part of Friend of a Friend, a collaborative series of exhibitions and public programmes by 21 galleries across 9 Prague spaces. Flat Time House will be presenting documentation of John Latham's rarely acknowledged 1983 happening Distress Over Parliament alongside work by four other contemporary artists.
OBSERVER: JOHN LATHAM AND THE DISTANT PERSPECTIVE AT CHELSEA SPACE
6 July–26 July 2019
Private view: Tuesday 9 July 6–8.30pm
16 John Islip St, London SW1P 4JU
Exhibition open: Tuesday – Friday 11am–5pm
For the first time, John Latham is the focus of an exhibition at Chelsea Space. This exhibition presents work by Latham that employs an aerial viewpoint and investigates how the use of this perspective is positioned in his wider thinking
Sung Tieu | Formative Years On Dearth
Organised with Parrhesiades
Join us for the launch event: Saturday 20 April 2019 6-9pm
Continues to: 11 May
Sung Tieu has collated, staged and reinterpreted a selection of material from extensive research of the John Latham archive. Selected documents mesh and interweave Tieu’s personal histories with those of John Latham creating a visual essay throughout Flat Time House. This intuitive personal account uses Latham’s voice to entangle the private and the personal with global social and financial narratives.
Formative Years On Dearth acts as the inauguration of our partner Parrhesiades, a multi-platform project for artists working with language, either written, spoken or otherwise performed.
The project takes place over three physical venues in Camberwell and Peckham. These are identified as The Yard, The Room and The Institution. The work also appears online.
The Yard and The Room are walking distance from FTHo and open from 12-6pm.
the billion year spree
Continuing to 14 April
Opening 7th March 6.30-9pm
With contributions by: Louis d’Heudieres, Felix Kubin, Julian Mader Max Prediger, Marius Schwarz and Dr. Saskia Steinmann
For her first solo exhibition in the UK, Annika Kahrs presents the billion year spree, a selection of new works using film, performance and installation commissioned in response to and positioned throughout Flat Time House. For the billion year spree she has focused her research into John Latham’s holistic cosmology of time and the universe, and how this might be visualised through time-based music and the atemporality of scores.
The title of the show derives from a 1970’s science fiction encyclopedia by Brian Aldiss, a collection of past imaginings of possible futures. Kahrs brings together her research into Latham with other perspectives via the Max Planck Institute, Berlin, the realm of psychiatric neuroimaging, and the search for cosmic gravitational waves at LIGO. From these starting points her work focuses on systems or forms of communication, interpretation and translation. Using music and sound she shifts or assembles what we hear through a performative process, making timelines intertwine and auditory perceptions interact.
the billion year spree is accompanied by a series of performances, concerts and talks on music, sound and scores.
The Psychopathic Now! Jeff Nuttall’s Bomb Culture and the International Underground
Organised by Strange Attractor Press in collaboration with Flat Time House. Curated by Douglas Field, Jay Jeff Jones and Jamie Sutcliffe
Opening with In-Conversation Event: Friday 23rd November from 6.30pm
Exhibition Continues to 15 December
Out of print for fifty years, Jeff Nuttall's book Bomb Culture (1968) has achieved legendary status as a powerful, informative, and spirited exploration of 1960s alternative society and counterculture. This confessional account of the period investigated the sources of its radical art, music, and protest movements as well as the beliefs, anxieties, and conceits of its key agitators, including Nuttall’s own.
Gathering together many small press publications, fragments of charged ephemera, historical documents and correspondence, The Psychopathic Now! is a modest attempt to illustrate something of the complex milieu out of which Bomb Culture erupted.
The Psychopathic Now! marks the 50th anniversary republication of Jeff Nuttall's Bomb Culture by Strange Attractor Press. The book will be launched at the exhibition opening with an in-conversation with the book’s editors Douglas Field and Jay Jeff Jones, chaired by writer Paul Clinton. Free, no booking required.
Stine Marie Jacobsen - Law Shifters
11 May–27 May 2018
Opening: Thursday 10 May 6-9pm
Workshop for teenagers: Saturday 12 May 2-4pm
In conversation event: Tuesday 22 May 7-8pm
Flat Time House presents for the first time in London a project by Danish artist Stine Marie Jacobsen. Law Shifters engages young citizens in the vicinity of FTHo, Peckham and Camberwell, in law and democracy by giving them the chance to act as both judges and lawmakers. What would your verdict be to real court cases, and how would you rewrite the laws in your country so that they would be fairer?
The Law Shifters project makes young people discuss their political opinions, ethical views and sense of justice as they re-judge real court cases and write new law proposals that reflect the reality that they are part of today. At FTHo Jacobsen, with experienced lawyer Sarah Andrew, will be working with teenagers to apply this methodology to UK criminal law, the stop and search law (Sus Law) and racial profiling.
Law Shifters is curated in collaboration with independent curator Lotte Juul Petersen, working with artist and Lawyer Sarah Andrew and Art Assassins, the South London Gallery's young people's programme. Law Shifters is the main cultural project during the Danish chairmanship of the Committee of Ministers of the Council of Europe November 2017 to May 2018. It is supported with funding from the Danish Arts Foundation.
Southwark Education Research Project: Reactivated
At FTHo 16 March – 8 April 2018 /// Opening: 15 March 6-9pm
At Tate Exchange 18 - 22 April 2018
Between 1989 and 1995 the Southwark Education Research Project engaged over 1,500 children and teachers by placing artists in fifteen schools across the London borough of Southwark. For this radical project, artists John Latham, Barbara Steveni, Rita Keegan, Carlyle Reedy and David Carr looked at the role of contemporary art in relation to learning and educational restructuring. This exhibition revisits SERP’s significance at a time when the arts in education are increasingly under threat from shifts in policy and the contraction of opportunity for young people to engage with art and culture in-school.
SERP Reactivated will draw on significant archives of the original 1989 – 1995 SERP Project, alongside new work created through collaboration between Barby Asante and Barbara Steveni with current Southwark school children.
SERP Reactivated is part of a wider project organised by Peckham Platform which will also travel to Tate Exchange.
Mary Hurrell - 2 (Aerial) Kunstraum, London
Opening: Friday 9 March 6:30 - 9pm
Exhibition at Kunstraum, 21 Roscoe Street, London
Performance on 24 March
Exhibition continues until 14 April
Mary Hurrell's 2 (Aerial) is the second part of a project, produced in collaboration between Kunstraum and Flat Time House, which maps changes in state of an amorphous body. The trilogy is conceived as one choreography stretched over time and space. Time is used as a material in Hurrell's work, acting as a counterbalance to movement, a force of friction or fluidity to form.
Having departed from resistant, glacial motion and crystallized forms in 1 (Pitch), 2 (Aerial) moves to a lower viscosity. The dominant materials in 2 (Aerial) – glass and rubber – share characteristics of conversion; structures between solid and liquid states. The transition between states is expressed through sound, video and choreography. The recorded voice stretches into an elongated soundscape, mapping an intangible body. Glass sculptures rest suspended in space; melding the conflicting characteristics of weight and transparency. States of intimacy and distance collapse and conjoin as the cyclical movement of two projected bodies fuse together.
Hurrell's project follows on from a research residency at Flat Time House in London and the performance 1 (Pitch), organized by Fluent, held at Centro Botin, Santander, Spain. The Cycle will conclude with an event at Flat Time House on 28 April.