FTHo

The Reader includes conversations, texts, photos, statements, reflections and a graphic story by / with artists, curators, academics and writers on the necessary destruction of artworks; vulnerability and death; catharsis and joy; restorative practice; ghosts of our youth, and archives of neglect.

Contributors: Pilar Quinteros, Tschabalala Self, Joseph Constable, Jaime Gili, Alice Channer, Anne Hardy, Rosie Ram, Ben Cranfield and Candice Purwin

Graphic design by Daly & Lyon

Published by Flat Time House

£8 

All proceeds go towards contributors’ fees for Reader III

Pre-sales will be shipped on 25 April 2025

De-production – First Trimester Mourning Sickness is a limited edition zine crafted as part of Lyónn Wolf’s 2024 residency with Flat Time House. As a way of sharing work in progress, Wolf invited Iarlaith Ní Fheorais, Linda Stupart and Raju Rage to respond to auto theoretical writing that brings states of transformation, popular science fiction and family abolition into weird communion. The zine also includes a contribution from artist, academic, activist, and curator Promona Sengupta. A very limited number of copies are available to purchase online.

The residency, a partnership with Askeaton Contemporary Arts in County Limerick, Ireland, will continue with Wolf’s first UK solo exhibition, taking place at Flat Time House in 2025.

This book is developed from Aerial Landscapes, a one day event focusing on contemporary artists’ engagement with the Five Sisters’ Bings and specifically Latham's approach to site from above as manifested in his 1975–76 APG placement with the Scottish Development Office. Both event and publication were shaped by dialogues between two artists, Onya McCausland and Nicky Bird, and two art historians, Katherine Jackson and Joy Sleeman, all working in the archive of Flat Time House. Together the texts convey four distinct perspectives on aerial landscapes and combine the historical and first-hand with the archive.

The book contains four chapters: ‘The View from Above’ by Katherine Jackson, ‘Cuthill and the Five Sisters Bing’ by Onya McCausland, ‘Overlay and Overview’ by Joy Sleeman and ‘Layered Over’ by Nicky Bird; with an Introduction by Gareth Bell-Jones and Afterword by Joy Sleeman. Together the texts convey four distinct perspectives on aerial landscapes and combine historical and artistic research and first-hand experience in the landscape and in the archive.

The first Archive of Destruction reader includes conversations, texts, stories, artworks, and pictures by artists, curators and writers, including Joe Namy, Marianne Wagner, Kasper König, Britta Peters, Vanessa Onwuemezi, Marysia Lewandowska, Horacio Zabala, Candice Purwin, and Joanna Rajkowska.

Graphic design by Daly & Lyon

£8 

A publication to accompany the exhibition includes: Ants and Grasshoppers: reflections on the anxious object by the curator David Thorp; ‘Incidental Person’: John Latham and Flat Time House by cultural historian Robert Hewison, talking distinctly about John Latham’s ideas and the Bellenden Road Renewal Scheme from his forthcoming book, Passport to Peckham: Culture and Creativity in a London Village; a text In the Body of a Fish Without Water by artist Eva Kot’átková; an essay on Pavel Büchler by Nick Thurston; and lastly an essay on Sarah Lucas, A Woman’s World Is Never Done by Deborah Orr.

£10

A publication to accompany the exhibition, The Bard: William Blake at Flat Time House, with commissioned poetry from Keith Jarrett, Niall McDevitt, Robert Montgomery, Karen Sandhu, Iain Sinclair and Tamar Yoseloff; and essays by curator Chris McCabe and Magnus Rena of the Sir Denis Mahon Foundation. Designed by Studio Mathias Clottu.

Annika Kahrs one point eight billion years (score), 2019

Special Introductory Price - £200

On the occasion of the billion year spree, Annika Kahrs has created a hand painted edition for Flat Time House which you can buy now. The work recreates in spray paint the waveform of the moment of detection of gravitational waves at the LIGO laboritory in 2015. Painted on raincoat faric, the work is intended to be used as a table cloth or wall hung. Edition of 20.

by Noa Latham

NOIT is a creative journal published by Flat Time House. Comprising new writing and visual contributions, NOIT explores the theoretical concerns and artwork of John Latham (1921–2006), and their continued relevance.

The fourth edition, NOIT — 4 Reflections, is dedicated to writing by Noa Latham on his father’s art and ideas. It provides one of the most comprehensive overviews of John Latham’s cosmology printed to date and combines a decades long critical investigation into his fathers work with intimate account of their time together.

NOIT — 4 Reflections is in a new larger format and full colour. It is available for £18

AVAILABLE TO PURCHASE NOW from the FTHo website

NOIT is a creative journal published by Flat Time House. Comprising new writing and visual contributions, NOIT explores the theoretical concerns and artwork of John Latham (1921–2006), and their continued relevance.

The fourth edition, NOIT—4 Reflections, is dedicated to writing by Noa Latham on his father’s art and ideas. It provides one of the most comprehensive overviews of John Latham’s cosmology printed to date and combines a decades long critical investigation into his father’s work with intimate account of their time together.

NOIT — 4 Reflections is accompanied by a selection of material collated by Noa Latham. The website postings are divided into three sections – interactions, exhibition contributions and short essays.

Noa Latham:

The materials posted here accompany the essays published in NOIT—4. Together they form a collection of writings about John Latham’s art and ideas from my per- spective as his son and as a philosophy professor. They fall into three groups. First there are the interactions, consisting of correspondence and early pieces I wrote for him. Next there are contributions made for exhibitions, all composed after his death on January 1, 2006. These are overviews that serve as standalone pieces that do not presuppose any previous acquaintance with John’s work. Finally there are what I am calling “Short essays”. These currently consist of three short pieces that I cut out of NOIT—4 to present as appendices. Unlike those NOIT—4 essays that are now set in stone, I intend these essays to be revisable, and I may add some new ones here in the future.

Edited by Marc Camille Chaimowicz and Andrew Wheatley

Take a little piece of Flat Time House home with you! For The Shift exhibition, Antony Hudek has created stickers of the phrase 'the shift' replicated exactly as it appears on the walls throughout Flat Time House. Their presence refers to the shift in perception from rational to intuitive thought as well as the paradigm shift that would be required for the establishment to take on board the new cosmology presented by Latham’s theory of ‘Flat Time’.

The Open Sky, was published by Rory Pilgrim in conjunction with his show at Flat Time House. 

Published on the occassion of the exhibition Property Guardian

Published on the occassion of Winter Garden, an exhibition and events programme of performances, readings and broadcasts made in response to John Latham's garden in winter. 

Published on the occasion of the exhibition Dr Sinclair's Drawer. 

A publication to accompany the exhibition edited by Karen Di Franco and Guy Brett. Published by Flat Time House in conjunction with CHELSEA space.

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.

Bruno Pelassy produced a funny, incisive and baroque body of work, including a manifesto film, Sans titre, sang titre, cent titres, which Marie Canet uses to highlight connections between Pelassy's work and the AIDS virus that took his life in 2002.