Taking place throughout the Summer until early September, I am curating a public programme of talks, workshops, activities for kids, screenings and a conference for Brent Biennial. Lifting the conversations from QUEER DIASPORIC FUTURITY off the page, the events gather together community-building practices that centre on creativity, healing, listening, showing up for others and asking bold questions, in what can otherwise be a dizzying political environment. The intention is to nurture connections that can help to find one’s voice and feel supported in taking a stand against hostility.
Book here for a misery medicine walk coming up on Sunday, a Day of Action Against the Hostile Environment on 30 July (with QDF contributors Amardeep Singh Dhillon, Beth Saha and Daniella Valz Gen), a series of community listening events, an event on housing called Homes for Queers, kids’ events with misery and AssemblePlay and more. Hope to see you in Brent over the Summer!
‘Queer Diasporic Futurity’ edited by Flatness now launched and available to buy!
The book launch at Studio Voltaire at the start of the month was a shy success and the first copies of Queer Diasporic Futurity are now heading out to addresses from Wales to Melbourne. This limited edition publication and special launch poster is available to buy for £17 incl. p&p (payment details follow below).
Queer Diasporic Futurity, commissioned by SAFEDI and developed in partnership with not/nowhere artist workers’ co-operative, will mark 9 years of the Flatness curatorial platform for artists’ moving image and network culture, bearing witness to the decentralised QTIBPOC (Queer, Trans and Intersex identified Black and People of Colour) networks it has come to form a part of.
QDF contains a collective call to restore loving connections to the body and to nature. The collection makes visible a vital network of practices focused on sustainability, accessibility and futurity. QDF reflects on the holistic conditions the book’s contributors are creating in order to disassociate less from the exhaustion of everyday overstimulation and disappointments, and to begin to identify new, potentially transformative felt connections to build upon.
Contributions to QDF include:
• A foreword by Evan Ifekoya;
• Introductions by Flatness founder, Shama Khanna;
• Two reflections on Earthlove within urban settings and facilitating the Community Apothecary by Rasheeqa Ahmad;
• An in-depth discussion on ‘Queering Economics’ organised by Decolonising Economics with guests Evan Ifekoya, Amardeep Singh Dhillon and June Bellebono addressing queer infrastructures of care, redistribution of power and spiritual relationships to money;
• A divination essay by Daniella Valz Gen probing questions of sustainability and growth within practice;
• A response to the entangled temporality of diasporic life by Aditi Jaganathan;
• A wellbeing spell by Adam Farah;
• and a scorebook tenderly exploring introverted tomboy and transmasc sounds by Nat Lall.
QDF is published in partnership with not/nowhere artist workers’ co-operative and has been beautifully designed by Design Print Bind.
Place your pre-order via PAYPAL (paypal.me/QDFbyFlatness) to receive a copy of our book for the special price of £17 (£15 + £2 UK p&p/ £22 total for European p&p/ please get in touch for ROW) along with any donations you’re able to make.
The process is a little clunky unfortunately, but can be broken down into the following steps:
– First, choose the ‘send’ (not ‘request’) money option
– To ensure all your ££ comes to the fundraiser choose the ‘friends and family’ payment option. Or, if you wish to choose the ‘item or service’ option please add £1 to the cost of the book (i.e. £18 in total) to cover extra charges incurred.
– Lastly, add your address in the “What’s this payment for?” box. We will be in touch in the coming weeks to confirm your details for delivery.
Plant Medicine of the City: a Seasonal Diary by RASHEEQA AHMAD (Hedge Herbs)
Rasheeqa is a Herbalist practicing in London with plant medicine, supporting people in her community with herbs and the healing they can offer. In the coming year she will be guiding us through the seasonal energy changes she observes and works with – both in the herb gardens she runs and growing wild around the city – in this special realtime plant life diary for Flatness. Watch Rasheeqa’s introduction to the series here.
Interview with DANIELLE BRATHWAITE-SHIRLEY
Danielle discusses types of gatekeeping which determines value and erases the presence of Black people from archives, technologies and markets. Through her work she seeks to create a foundation for other Black Trans people to build on top of, including making archives where they are not only centred but embedded in the fabric of her coding. We also speak about her non-linear approach to technology reviving technologies to repurpose them for use by Black Trans people. And how she emphasises accessibility in her work and the importance of setting out terms and conditions as a way of holding people (and gatekeepers) to account.
State of the Union by SHAMA KHANNA (image courtesy EVAN IFEKOYA)
The physical and digital and the spaces in-between by Dr SYLVIA THEURI (image courtesy estate of DONALD RODNEY)
Following Ten Million Dinner Parties by NISHA RAMAYYA
hair folder (video) by ULIJONA ODIŠARIJA
A temporal note introducing Ulijona Odišarija’s hair folder (video) by SHAMA KHANNA
In The Curve by JOSEPH WALSH
Lockdown performance by TOM RICHARDS
The blessing of the Pisces Rising by NATASHA LALL
There is a high chance that astrology is a load of bollocks but there are a few things I get out of it. Actually one or two things are very useful.
The first is a sense of belonging because for some reason astrology is a predominant part of lesbian culture. Don’t ask me why. I don’t really care why. Why not? I mean I was forced to study Christianity for a lot longer…lmao.
Anyway, I also find that regular horoscopes give me a sense of focus. That’s super useful for me. I find a lot of truth, or at least correlation, in my chart.
Notebook Score #2: The line of the hand throws the mind out of the body reading by HANNAH SATZ
This notebook practice represents a release of thought and feeling, in some sense counter to the control or fixity of Writing. It’s flighty – the motion of writing long-hand is another way of running – but the connection from hand to gut is also grounding; it earths me. I read fragments from the end of February to the end of April 2020, here and there; paragraphs, lines, or words from flicked through pages, self-censoring as I stumble and flow. It is meant, even in its inward-looking, to be a form of opening, an offering.
Peaceful in the rain in the order by DAN WALWIN
Interview with TEXTAQUEEN
… There are so many more south Asians I’ve connected with whose lives are on tangents to mine here in London than back ‘home’. I’ve felt part of a cluster of brown and black artists working with care and integrity here, and have made more intergenerational connections. My parents migrated, and I was born, not long after the White Australia policies ended, there aren’t elder second generation POC migrants and I have very few peers my age at my intersections. …
… A decolonial practice for me is, during the creative process, letting go of imagining the white liberal audience reaction to the work and keeping present in mind myself and an audience who will feel empowerment through the work.
rehana zaman
MEDICATED SUMMERS / BENEFITS TRAP / ENDS PORTALS two-part momentational sequence consisting of a short video and an image dump PDF file by ADAM FARAH
TAYLOR LE MELLE responds to MEDICATED SUMMERS / BENEFITS TRAP / ENDS PORTALS by Adam Farah
lucy clout
An Analog for Listening by NIKHIL VETTUKATTIL
natasha lall
dan walwin
Flatness is a long-running project curated and moderated by Shama Khanna offering artists and audiences a space for creativity away from structurally unjust institutions and market-led forces of the web. Help keep Flatness independent by donating to its supporters’ pool.
In 2019 the project relaunched with a new interactive design and a series of new artist commissions presenting new works and words by artists Lucy Clout, Adam Farah, Natasha Lall, Ulijona Odišarija, TextaQueen, Tom Richards, Nikhil Vettukattil, Joseph Walsh, Dan Walwin and Rehana Zaman and writers Taylor Le Melle, Nisha Ramayya and Hannah Satz.
The first iteration of the Flatness was a screening programme ‘Flatness: Cinema after the Internet’ for Kurzfilmtage Oberhausen in Germany in 2013 (with commissions by Anthea Hamilton, Ed Atkins, Oliver Laric and Ghislaine Leung among several others) and it has been live as a multi-format screening and web platform (flatness.eu and archive.flatness.eu) for artists’ moving image and network culture ever since. Through working with devalued forms of the copy and the web, Flatness has been described as a ‘digital site of resistance’ (Dr Sylvia Theuri) decentering unjust narratives of the arts from the margins of the online. Flatness reflects critically on the current context where freedom of expression on the internet is devalued by social media algorithms which help push hate and misinformation up the agenda. The site presents a porous context for artworks to be shared as part of a genuinely networked culture.
Flatness values artistic experimentation and minor, durational experiences of art on the web. It is curated from the perspective of a queer Brown sick womxn with the aim of uplifting conversations and creative practices which defy intersectional oppression.
The aim of the website’s interactive elements – the calendar and comments feed – is to build an active community around these works, in support of their critical and social contextualisation. All contributions are moderated according to our safer space commitment included below.
This edition of the site has been an ‘unflattening of the screen’ with key elements of works by Rehana Zaman, Adam Farah and Lucy Clout happening outside the frame of the site prompting a further evolution; to recognise the importance of creating safer spaces for marginalised communities to meet, share and heal at a distance from imperatives to produce. Read more about this process of transformation here. 2021 marks a new phase in the project’s long-running history as it embarks on formalising the curatorial connections it has built up with artists and arts workers in the UK and abroad as part of a community-led mutual organisation.
#Allblacklivesmatter
For Flatness there is no way back to how things were before the pandemic. Horizons have opened up as we have witnessed how change can be achieved through taking action (rather than defaulting to critique). Our voices are clear and powerful and being heard. We need to support each other to keep energies strong. QTIBPOC lead the way in this urgent work. Our transcendence of normalcy transforms expectations of transcendence through art. Donate to UK BLM here.
During the COVID 19 pandemic:
We hope readers are managing to keep well body and soul.
Notwithstanding the pain and hardship brought on by the catastrophe we are watching the internet come alive in this period as sharing becomes more focused on connecting. This drive could potentially recontextualise what it means to be isolated in the widest sense – whether through mental, physical and financial impairment and discrimination, to the isolation of work or the studio – beyond the immediate confines of lockdown. Following the strengthened impetus (towards mutual aid, and towards recovering the health of the planet) to break the loop of crisis capitalism and nurture the bonds between us, between April and August Flatness invited contributions for work which corresponded to:
– the ‘situation’;
– stillness and liveness (signals from rituals/ practice); or
– the ‘future’.
Find new short form contributions in response by writer Hannah Satz, artists Dan Walwin, Natasha Lall, Joseph Walsh, Ulijona Odišarija, musician Tom Richards, and poet Nisha Ramayya.
about…
Live since 2013, Flatness is a long-running project curated and moderated by Shama Khanna offering artists and audiences a space for creativity away from structurally unjust institutions and market-led forces of the web. Help keep Flatness independent by donating to its supporters’ pool.
Read the latest ‘State of the Union‘ text by Shama Khanna from Autumn 2020.
Excerpt from an interview with Henry Broome for Spike Art Magazine from Autumn 2019:
How did Flatness first come about and what made you relaunch the platform this year?
… The new 2019 programme developed out of the political ruptures of 2016, also #BlackLivesMatter, #MeToo and the Arab Spring, movements spurred on by the internet. It’s also a reflection of my lived experience of the art industry where people of colour are in token ways hypervisible but structurally disempowered.
The platform provides a critical framework to understand social media’s empowering potential against its ultimately extractive and manipulative business models, as shown by Zuckerberg’s infamous hearing in late 2018. I think Flatness offers a mouldable alternative: You don’t need to log in or pay to view works and the site is free and open to all. It’s still possible to build your own spaces rather than succumb to the format of big monopoly platforms. As the founder of the World Wide Web, Tim Berners Lee said, the future of the internet relies on individuals making and adding to their own sites, and keeping control of their data.
Creating safer spaces
The web is not a neutral space. From its beginnings as a US defence initiative to improve communication with soldiers in remote places through to the privileged, racial capitalistic understanding of freedom and ‘making the world a better place’ the cis-white male Californian ideologists who continue to structure and profit from it maintain. There has been an equally long history of artists and technologists critiquing this version of its development (and structurally unjust institutions and practices in general) which Flatness supplements.
Flatness is working on becoming a safer and accessible space free from racism, sexism, ableism, ageism, classism, casteism, homophobia, transphobia, fatphobia, or hatefulness. Let us know if there are ways we can do this better.
Subscribe to the Flatness newsletter for project updates.
Web design & programming by Gailė Pranckūnaitė & Andrius Zupkus.
All texts, works and images either belong to the artist, author or photographer named or are licensed under the terms of this CC 4.00 certificate.
Flatness is currently suported by SAFEDI, an AHRC fellowship led by MMU, Social Art Network, & Axis to produce a publication with 4 new artist commissions around the theme of diasporic futurity.
Comments
I’ve been sick with the ‘super cold’ but amazed at my colleagues @UCU_UAL
@GoldsmithsUCU @RcaUcu
and students’ defiant presence across the capital (not to forget the UK wide protests). Here is a pic of the quiet poetry reading teach out Ian Hunt
is holding every Friday of #Goldstrike at the allotments a few metres from the picket. Ian will be sharing his selection of poetry with Flatness, watch this space. https://goldstriketeachouts2021.wordpress.com/
Pleased to announce that the Flatness interview with Danielle Braithwaite Shirley has now officially gone live via Feminist Review. Read it open source here: https://journals.sagepub.com/doi/full/10.1177/01417789211037031 Photo above from her excellent show ‘She Keeps Me Damn Alive’ which opened at Arebyte Gallery last week with a powerful performance circle.
Thinking deeply about the Black Atlantic and Hartman’s ‘Venus in Two Acts’ for a crit tomorrow with Rindon Johnson in time for his newly opened show at Chisenhale ‘Sparrow sings new song’.
Beth and I held a workshop for Syllabus VI peer network at Studio Voltaire on Friday inviting the artists and reps from Wysing and SV to present on each others’ work. Roy Claire Potter’s excellent text ‘Sharing the problem of listening’ (recently published through Mostyn) was our recommended reading. https://www.mostyn.org/sites/www.mostyn.org/files/Sharing%20the%20problem%20of%20listening%20by%20Roy%20Claire%20Potter%20ENG%20.pdf
Excited to begin Herbalist Rasheeqa Ahmad’s Plant Medicine of the City: A Seasonal Diary with 4 new videos. In the coming year Rasheeqa will be sharing the seasonal changes she observes and works with in this special realtime urban plant life diary. https://flatness.eu/contributors/rasheeqa-ahmad/
Studio Voltaire is officially open! Flatness is a Cultural Tenant in the super lux studios here. Feel lucky to be a part of this community while also a bit intimidated by the amount of philanthropy needed to make it happen …
Watch Andrea Luka Zimmerman’s Art Class for free on LUX until Friday. Cathartic to see her photos and hear her talk about old things and imposter syndrome (in the art world).
bit.ly/2WHIx6U
The Scottish Queer Film Festival this weekend was an exemplary, access-led event with D/deaf and disabled filmmakers up front, captions and BSL as a rule, a sliding pay scale for tickets and a quiet room to chill between screenings. I was really energised by the care behind the programme. Congrats Nat!! The pic is from the GA(Y)MERS q&a on Sunday where I was happy to contemplate our democratic flatness behind the screen with the other artists and filmmakers who work with games to ‘enhance’ (Jamie Jankovic) their IRL.
Calling all Black and Global Ethnic Majorities (GEM) people who are Board members or trustees in UK arts and culture organisations. Next GEMBA meeting is on 26 Oct! https://www.eventbrite.co.uk/e/global-ethnic-majorities-board-association-3rd-meeting-tickets-184774504517
Fighting back against zero hours contracts, precarity and oppressive workloads by supporting the RCA UCU 14 day strike which has begun today. As a case in point, after 2 years precarious employment with no maternity pay in between, I have not been asked to work there this academic year. Our working conditions are the students’ learning conditions.
https://twitter.com/RcaUcu
GA(Y)MERS is a programme of films of and by queer and trans video makers and gamers curated by Flatness contributor Natasha Lall for SQIFF Scottish Queer Film Festival. Looking forward to being part of the Q&A with Nat and Jamie Jankovic in Glasgow next month to explore what Danielle Brathwaite-Shirley has said about the power of avatars to ‘make an existence you want feel possible’.
https://sqiff.org/event/gaymers/
In case you missed Michaela Coel’s acceptance speech from the Emmys last week, in less than a minute she summed up how deceptively powerful and loomingly present social media is: “Write the tale that scares you, that makes you feel uncertain, that isn’t comfortable, I dare you — in a world that entices us to browse through the lives of others to help us better determine how we feel about ourselves, and to in turn feel the need to be constantly visible, for visibility these days seems to somehow equate to success — do not be afraid to disappear from it, from us for a while, and see what comes to you in the silence.”
Suneil Sanzgiri’s exceptional trilogy of films and more is available to watch for £10 through Berwick Festival’s website until the end of the month. Here’s a link to a conversation between the filmmaker and Jemma Desai discussing their approach to addressing the incompleteness and grief of diaspora in their films through incompleteness – working with fragments and glitches https://bfmaf.org/program/golden-jubilee/#suneil-sanzgiri-in-conversation
Flatness contributor Free.yard has a show opening at Camden Arts Centre this week, so so looking forward!
https://camdenartcentre.org/adam-farah-what-ive-learned-from-you-and-myself-peak-momentations-inside-my-velvet-rope-mix/
Flatness is honoured to be in conversation with Alia Syed as part of her In Focus programme at Open City Docs Festival @17.40 on 13 Sept @Genesis Cinema, London. Tickets here: https://opencitylondon.com/events/in-focus-alia-syed-2/