FLAT NEWLETTER

FLAT Issue 1

GREG STREAK

April 1995

Without a physical space from which to operate, FLAT activities required an alternative medium. Born out of the necessity to find a cheap option that would allow for continued dialogue - an art newsletter: FLAT - was created. With the DTP skills of Caryn Iseman, a Technikon Fine Art graduate, a monthly publication of 1000 copies was produced. This was distributed to a large audience without the requirement of any specific space. A request for distribution through their mailing was sent to the NSA, but this was declined.
In May of 1995 I approached Greg Streak, who had just returned from the United States, to do an interview for the newsletter. It was significant that Streak had neither shown nor been involved with the FLAT, and so in some sense represented a fresh perspective. The aim of the Newsletter was to look critically at cultural production in Durban, through the medium of the interview. As there was no other art press like this in Durban, it seemed most appropriate. It is significant that Streak spoke critically about the various arts organizations in Durban.

 

FLAT Issue 2
ESSEX ROAD GALLERY
July 1995

 

The Essex Road artists, as mentioned earlier were in constant communication with the FLAT gallery and an interview with a group of its key participants followed the Streak issue. This document was published with text in both English and Zulu translated by Simon Manana. This interview was published to accompany an exhibition of Essex Road artists’ work at the NSA.
At this time, Andries Botha assisted us in putting forward an application for funding for the newsletter from BAT. Vusi Mchunu, then director of BAT, saw this issue of the newsletter and he was extremely supportive. We were informed that we would receive a R1000 grant to continue the document, but due to unrelated circumstances, never drew this money.

 

FLAT Issue 3
MELISSA MARRINS
August 1995

 

In April of 1995, Melissa Marrins had organized two off-site installations at Chandon House, in what was an old operating theater in Mount Edgecombe. My interest in interviewing Marrins lay in what I perceived as a growth at that time in the use of non-traditional venues for site-specific installations in the greater Durban area.
The interview is presented here in its entirety for the first time; it was never published and distributed, as I had left the country before I could release it. At this time, I was given the opportunity for an artist residency in the United States. I chose to leave Durban and go to the Washington, DC area to expand my research into alternative spaces in the States, and to continue with my own artistic projects.