FTHo

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.

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 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).

Athanasios Argianas, John Baldessari, Julius Heinemann, John Latham & Rachel Reupke

Preview: Friday 30 August 4pm

Exhibtion open: Tuesday – Saturday 1–7pm

lítost

Vlkova 23, Žižkov, Prague, Czech Republic

an action

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.

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

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.

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. 

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

7-8pm In-conversation

8-9pm Drinks

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.

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.

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.

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.

Opening: Thursday 25 January - 6.30-8.30pm

Open: Thursday - Sunday 12-6pm

This solo exhibition by London and Zagreb based artist Ben Cain, brings together a new body of work that responds to John Latham’s thinking on time and the event based nature of objects. Drawing on the domestic spaces of Flat Time House Cain creates an installation throughout Latham’s former home. Cain’s work explores art’s ambiguous relationship to industry, commodification and immaterial labour. He is interested in how artworks might pose questions about what we think they are doing and, by implication, our role as viewers in their social and cultural production. For Passive Imperative Participation Vibe Cain has focused on a subjective experience of time via labour, leisure and domestic living.

With contributions by: Emmy Beber, Dean Kissick, John Latham

For her first institutional show in the UK, Lina Hermsdorf presents an architectural transformation of Flat Time House with an immersive sound installation throughout John Latham’s studio home. For this new commission, Hermsdorf uses large sheets of reinforced glass to divide the rooms of Flat Time House creating different sound spaces in which viewers may experience a temporal dissonance. The exhibition environment is used as a time-based medium with the viewer at the centre of a series of non-linear scripted narratives. Over the course of the show performances will take place within the installation.

Flat Time House is pleased to collaborate with Künstlerhaus Bremen on Lina Hermsdorf's exhibition Vantage Point with contributions by Casper-Malte Augusta and John Latham and sound design by Marian Mentrup.

Lina Hermsdorf´s exhibitions unfold as time-based processes that place the experience of the viewer at their centre. Their non-linear, polysemous narratives often materialize in installations and performances, with a particular focus on biological phenomena relating to the corporeal and temporal texture of technologically infiltrated bodies. Frequently taking into account the specific histories of her performers, Hermsdorf combines biographical material with a multitude of voices, forming avatar-like characters that meander between virtual and physical realities. 

Exhibition introducing Flat Time House and John Latham with Giles Bailey, Anna Barham, Laure Prouvost and David Toop. 

6 April - 21 May 2017

Open: Thursday - Sunday 12-6pm

Opening Event: 5 April, 6-8pm

Exhibition Tours: Saturdays in April

ALL TOURS NOW CONCLUDED. IF YOU WOULD LIKE AN EXHIBITION TOUR PLEASE EMAIL: gareth (at) flattimeho.org.uk

To celebrate the newly secure future of FTHo and in collaboration with the Serpentine Galleries, the space will open from the 6th of April with a new exhibition. Living Sculpture acts as an introduction to FTHo and John Latham’s conception of Flat Time. A highlight of the exhibition is Latham’s large text and spray paint work ‘Twentieth Century Trajectory’. This work, which demonstrates the convergence of art and science, is on public view for the first time. Throughout the exhibition will be newly commissioned work by artists with a relationship to Latham and FTHo including Laure Prouvost, Giles Bailey with David Toop and Anna Barham.

For Tears Shared Marc Camille Chaimowicz has created a specially commissioned installation throughout the whole of Flat Time House. The exhibition includes the first UK presentation of Bruno Pélassy curated by Marie Canet and a selection of glassware from Chaimowicz’s personal collection of pressed glass.

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.

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.