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KITCHEN

American Pancakes and Mimosas - £3 Music provided by DJ MD

CONTACT

email@flat34.org Copyright © 2013. FLAT34. All rights reserved.


OPENING HOUSE

a given space / space as a given FLAT 34 is a given space. Confined and defined. Six identical bedrooms with six identical beds, six identical desks, six identical doors, located in the Ewen Henderson Court – halls of residence – a given space for six residents coming from six different parts of the world, living here for a year while academically active in six different fields. At every Opening House the doors are opened and FLAT 34 transforms into a gallery. For this Opening House we invited six artists to create work with this space as a given.

They use this given space – its sounds, windows, views, lights, spaces, stuff, stories – and replace it, frame it. Six different ways of seeing, questioning, appropriating, responding, interpreting, showing, being in this six bedroom flat of the Ewen Henderson Court. It is our great pleasure to invite and welcome you to FLAT 34.

Warmest, FLAT 34


WORKS


Enjin Yang, LOVE ----With a simple desire to make the audience member feel valued, connected and transformed, Yang uses her voice and a careful consideration of space, time and body to invite her listeners/viewers to connect to their own unique personal emotions and stories – even just for a short journey to their next destination.


Dorine van Meel, Blending Modes ----If I contemplate the house attentively and with no thought in my mind, it has something eternal about it, and an atmosphere of torpor seems to be generated by it. It is true that I see it from a certain point in my ‘duration’, but it is the same house that I saw yesterday when it was a day younger: it is the same house that either an old man or a child might behold. It is true, moreover, that age and change affect it, but even if it should collapse tomorrow, it will remain for ever true that it existed today: each moment of time calls all the others to witness; it shows by its advent ‘how things were meant to turn out’ and ‘how it will all finish’; each present permanently underpins a point of time which calls for recognition from all the others, so that the object is seen at all times as it is seen from all directions and by the same means, namely the structure imposed by a horizon. Maurice Merleau-Ponty in Phenomenology of Perception, 1962.


Luuk Schroder, From the acting to the seeing ----When we understand something in a conversation, an expression that is often used is “I see”. Seeing means, in this case, understanding or grasping the rationale behind that what the other was saying. Often, to be able to make someone “see” the meaning, speech or imagery is used to express that which has to be understood. In the same way, saying something out loud to oneself expresses things in a very different way than thinking does. Saying something out loud makes one see in the same way as that seeing creates a language in which one is able to speak. The fact that the words ‘seeing’ and ‘saying’ come from the same root, conveys as much. They are intrinsically connected and form a bridge between us and the objective world, or the world that objects to us. Saying does not just refer to speech, otherwise the metaphor for “seeing” could have better been “hearing”. Saying can be anything, as long as it makes one “see”.


Yuki Kondo, Her Privacy ----The door is the delimitation of a boundary between the private and the public. It protects her privacy though the alternative barricade rather exposes fragments of it. Now without clear entry you can see all her belongings, which you would have seen scattered in her room on any other day. It is a reconstruction of the barrier although simultaneously there is a malfunction of that barrier. In a sense, this contradictory outcome triggers a kind of ambiguous distance between you (the public) and the barricade (the privacy).


Susan Conte, Queens on Anne ----No matter which way you slice it, dice it, or fry it, drawing is painting’s little sister. All guts and no glory. It stems from a subordinate history, always awkwardly falling second. Observational drawing feels especially humble. Polite, even. But there is a strangeness in re-representing an object that already exists. Once it crowns the page, it begins to take on its own character and have opinions. It begins to invade your shit with its shit.


Elaine Reynolds, fuzzy aggregates ----Let’s zoom out, let’s see how big it is. It’s bigger than all of Spain and Portugal; Iberia, the Iberian Peninsula, is that what they call it? Yeah, hmmm, It’s quite big, It’s mad, I never really looked at the place names closely Yes, and they’re all being changed, like Polokwane, that used to be called Petersburgh, but that’s also now changed Koster, is that a common name?

Kosterrrrr, No The reason I ask is because I only know a handful of Dutch people and one of them is called Mauritz Koster Yeah, uh, let’s zoom out, Potch –est – strrromm, let’s see in relation to Pretoria. Pretoria is here and this is where I went to university, then I did my second BA back in Pretoria before moving here…and here is where we are, right now… number 40, Goodwood Rd, Wow, that’s far…when you put it like that


Final Booklet  

Opening House - 22 May

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