De-production
Lyónn Wolf

28 November 2025–25 January 2026

Flat Time House
210 Bellenden Road, London SE15 4BW

Opening Thursday 27 November 6–8pm

Exhibition open Thursday–Sunday 12–6pm
(Closed from 20 December–7 January)

flattimeho.org.uk

Flat Time House, London and Askeaton Contemporary Arts present the first UK solo exhibition of Lyónn Wolf, and a new commission initiated during an artist residency at FTHo in summer 2024. Wolf’s De-production creates an installation running through a succession of spaces in Flat Time House, dramatically transforming its interiors through sculptural and textual interventions. Playing upon the narrative and spatial tropes of popular Science Fiction, De-production has grown into an ongoing project for Wolf, tracing states of transition through what he describes as ‘an intentional re-patterning of reproductive logics’. Themes drawn from close readings of Ridley Scott’s Alien motion picture and subsequent sequels from 1979 to 1997 are a dominant aspect explored – monstrous motherhood, alienated embodiments and transitional states.

De-production begins with an undoing of the production and maintenance of gender within the nuclear family, and unfolds towards a trans and working-class poetics of time, labour and relationship. The artwork queries what it means to reproduce ourselves away from state apparatuses while also developing formats where this can become a shared and open project. In this context, Wolf is developing and maintaining an archive, The Breeding Room, which will have its first presentation as an archive at FTHo. It acts as counter to traditional institutional intentions and structures, whilst also documenting and sharing elements of a practice of gathering.

Lyónn Wolf is an artist and writer currently engaged with de-productive trans & class poetics. His work unfolds a desire for structures of being away from the logics of reproductive colonial time towards the collective reimagining of political futures centred on pleasure & interdependence for queer, trans & crip social bodies. Wolf nurtures communities of interest alongside the making of promiscuous works that engage forms recycling, thrift and ephemera to pose questions about value, accumulation, and authorship that, in his own words, ‘posits the imagination as a political tool with radical potential that can exist and erupt anywhere and at any time.’

The Irish Face
Frank Wasser

Friday 17 October 2025
Tate Library and Reading Room, Tate Britain, London

Open rehearsal and archival display: 1–3pm
Free, unticketed

Performance: 4.30–5.30pm
Free, ticket required
Book here

The Irish Face is a performance and one-day encounter with artist and writer Frank Wasser. Presented in the Library and Archive Reading Room at Tate Britain, The Irish Face is the public culmination of Wasser’s artist-in-residence at the site, a collaborative exchange supported by Tate and Ireland’s Askeaton Contemporary Arts during 2025.

Wasser’s research initially asks how national identity, and his own Irishness, has and continues to be mediated through systems of classification and categorisation, and what kinds of alternative evocations can still emerge. Drawing from narratives and subjects such as Derry-Londonderry’s famed Orchard Gallery, Tate Britain’s location on the former site of Millbank Prison – the world’s the first panopticon – or representations of Ireland as seen in Dublin’s National Gallery, Wasser creates a counter taxonomy of knowledge, speculating where potential blind spots might lie.

Presented as a gradually unfolding presence on 17 October, an open rehearsal and collection of artefacts and ephemera key to Wasser’s research are made available to the public during the afternoon. Acknowledging Wasser’s desire to ‘act and read out loud’ inside the typically silent spaces of the library and archive, he will gather to theatrically enact scripted writings, monologues and archival quotations that evoke entangled narratives of identity and institutional authority. In this way, Wasser considers how the spatial conventions of a library produce specific kinds of subjectivity in how, as individuals, we are shaped not only by what we read, but by where and how we read it.

Tate’s Library is a centre of excellence for art historical research, with holdings of more than half a million publications related to British art since 1500, and international art since 1900, including over 115,000 books and monographs, 175,000 recent and historic exhibition catalogues, over 10,000 artists’ books, zines and serials, 3,000 print and online journals, printed ephemera, press cuttings, audio and video recordings, as well as microfilm and microfiche collections.

Frank Wasser lives and works between Dublin, London and Vienna. Recent exhibitions include the solo show Plot-holes at the University of Oxford, where he earned his doctorate, and Debt, a group exhibition at the Salzburger Kunstverein. He teaches at Goldsmiths, University of London, and is editor of The Posthumanist journal. His writing has appeared in Frieze, Flash Art, Art Monthly, and ArtReview.