The Order in Expectedness and So On is a video portrait of Flat Time House constructed from documentation of performances in the space by three sound artists.
Operating alongside a collage of interviews with individuals who have historic relationship to the former home of John Latham, this material aims to reflect the building’s complex status as a heritage venue and generative site of new artworks.
The first iteration of the work was shown at Flat Time House as part of the exhibition Living Sculpture in April 2017.
Rather than attempting to reverently preserve the artist’s domestic and working space, FTHo has facilitated the work of others via its exhibition and residency programmes. Latham’s theoretical and political vision informs and shapes this production ensuring it maintains an active critical engagement with these themes and the artist’s legacy. This project will represent the architectural space as a site of activity through the recording of live sonic works by artists David Toop, Tomoko Hojo and Lucie Stepankova performed for the building itself. Each artists singular approach will by layered with fragments of conversations with, among others Gareth Bell Jones, Jo Melvin and Lina Hermsdorf.
This non-linear and open form proposes a response to this context informed by John Latham’s Flat Time theory that advocates an understanding of the world in terms of time and events rather than space and objects.