Volatility is Back! – A Reading
03.08.2018, 7 pm
Hopscotch Reading Room
Kurfürstenstr. 14, 10785 Berlin
Drastic reappraisals of social, cultural, and biological realities have become a daily affair in a culture that increasingly operates at a rate faster than the speed of human perception, where thought itself becomes an afterthought. If Marx’s observation that, under capitalism, all that is solid melts into air, what then happens when air itself deliquesces into billions of ideologically coded fragments of information, infinitely reproduced, infinitely exchangeable, infinitely fathomless and irreducible? If literature is to respond to the present circumstance, it must metabolise this boundless volatility. The writers featured – in addition to William Kherbek – Elvia Wilk, Sydney Beaumont, George Titheridge, Susan Finlay, Alice Miller and Katharina Ludwig confront the bulls and bears of our own psychological and structural positions. They strive to express their own experience in a world where value lies somewhere beyond the boundaries of familiar ethics and humanity. They bring their insights, impressions, and the impasses which they confront, both in the world and within themselves to their varied artistic practices. The results may simultaneously stun, move, and trouble their audiences. Volatility is back, the economists tells us, but volatility has always been with us and within us. Now, as its presence is more visible in daily life – no matter how ostensibly secure one’s position may be – the question is less how will one manage the ruptures that define the new “normal”, but how one will find one’s place in this new landscape. How will one greet this most familiar of Others: the instability in which our own identities and perceptions are grounded, the quicksand of subjectivity?
Low Text #3, Instructions
24.05. 2018, time t.b.a.
Am Flutgraben 3, project space
#3 Instructions looks into all publicly and privately given guidelines. But what happens if one follows all the instructions literally? Does it bring a new realm of possibilities? Under instructions, we understand all general announcements – bus and train stations, public signs, and manuals – all the texts, that bring a restrictive and normative frame to our everyday activities. Without us paying too much attention to them, these texts are probably the most ancient residents of our – if one really takes it to the extreme, one can even think of public scriptures from Roman times or even pictorial pre-verbal cave engravings.
What do they mean for us now and how do we deal with them? Who is the author of these texts? And can one choose to be their author?
The cycle LOW TEXT aims to explore text production as a social practice and texts that surround us, invisible in their ubiquity. These “exhausting” types of texts – work emails, application, manuals, automated texts, while being a device of initiating and relating, became today an appendage of a bureaucratic machine that frames, silences and flattens the diversity.
LOW TEXT seeks to provide a space for a conversation rather than a celebration of an individual ego. In a sense, this cycle seeks to take a step back from individual authorship by choosing the texts of every day as a point of departure. But this stepping back is at once a step towards it. How can we engage critically with normative texts and claim them back?
More info at https://www.facebook.com/lowtext/
Zeno Press Anthology – FELT, Aesthetics of Grey
Out in November 2018
Felt is a new collection of writings including essays, experimental texts and short stories, this issue will be out in November 2018 and will feature works by artists and writers who have been invited to respond creatively to the colour Grey.
If black is the strength of conviction without doubt, of determination, of conceptual truth at all costs, and if white is the fragility of indecision, of partial certainty, of shyness … then, grey is the one and the other together, without being paralyzed by the negative absolutes of black and white, grey dilutes them in serenity and in the modesty of an inoffensive color.
Grey is the critical thinking, and the mediation between the absolutes, it is a set of complex nuances that move between black and white in search of consensus, of broad understanding dialogue. The shades of grey are those of the considered and shared choices, they are those of the interpretations that mediate between the irreconcilable opposites, they are those of the decisions that are still revocable and perfectible, of the efforts accompanied by constancy.
Grey gives one time to think, to meet, to confront oneself, to avoid conflicts and extremisms. Grey is the color of diplomacy, of discretion, of simplicity. Thinking in grey does not mean to forget the white and the black, or not to know how to evaluate the quality of white and black: grey presupposes them and knows well to tend to them, but without being submitted by the violence of part, by factiousness, with a dominant and compact idea.
In this sense of theoretical freedom, “Felt’ will explore what is greyness to us today.
Featuring texts by:
Ansgar Allen, Christopher Clifton, Daniele Pantano, Florence Lenaers,German Sierra, Imogen Reid, Katharina Ludwig, Paul Hawkins, Rachael De Moravia, Richard Webb, Rob Miller, Susanna Crossman, Tristan Foster and Tom Robinson.
Edited by Christian Patracchini
Paperwork Magazine, Issue 3 – iilwimi lipsing
I’m very happy to collaborate with Paperwork Magazine for their 3rd Issue, iilwimi lipsing
Chris Airlines, text commisson
CHRIS AIRLINES is a nomadic, long-term exhibition and research project. Starting in spring 2018 as a cooperation between Catherine Biocca and Gislind Köhler, CHRIS AIRLINES presents up to six exhibitions in different places in Europe and worldwide during the current year. For each exhibition two artists are invited to establish a relation with the venue and its location. Besides the exhibitions, research is an essential part of CHRIS AIRLINES. Parallel to the duo-shows writers from different backgrounds are invited to expand on subjects addressed within the presentation spaces, and focus on multiple issues concerning space in various text based formats – like spatial relations, perceptions, structures, discourses, social spaces, identities or histories. How is the space around us structured? What does this imply? Multilayered, complex relationships and situations are revealed or uncovered. Likewise concepts of space and everyday life are connected or divided. The goal is to initiate spatial confrontations on manifold, actual issues and personal levels.
Shira Wachsmann & Katharina Ludwig, Display Berlin
Opening Friday, Dec 8, 2017, 6pm
Exhibition Dec 8-17, 2017
The character falls into a hole
. . .
sonorous scream…[aaaaahhhhhhahhhah]…in the distance, fading out [aaaaaaahhhhhh fading]
Just like that – and with this the text stops.
The English language differentiates between the terms history and story (narrative). In German, French and Italian, both terms share one word – Geschichte / Histoire / Storia – and consequently disclose a direct reference between both. It is essential to consider that (historical) time is artificial, imaginary, therefore akin to (fictional) narrative. This artificiality allows a linear representation.
Shira Wachsmann and Katharina Ludwig are invited by Display, Berlin, to foster a discussion, between their two practices and their two direction of research to explore their points of intersection. As the first part of a series of three events distributed over the coming months, the exhibition Extremity activates the first scenario.
Through their common installation in the space, they plan to interrogate the ideas and boundaries of history and story/narrative. How to navigate the factual and fictional? They will engage with the concepts of borders and holes in both the socio-political, as well as artistic and linguistic space.
The project is kindly supported by the Ursula-Wandres-Stiftung.
Opening: Friday, Dec 8, 2017 – 6pm + performance/reading – 7.30pm
Short films Screening: Monday, Dec 18, 2017, from 7.30pm
Panel discussion: Spring 2018 (more details to come)
Now, How? Pt.III: mocumenta 2017: unLearning from Mistakes
DECAD Gneisenaustr. 52
Now, How? is a series of events organised by William Kherbek.
A cynic is a man who knows the price of everything and value of nothing.
The third event in the Now, How? series satirically appropriates the name of the Kassel-Athens mega-exhibition for the purposes of posing the question of how critical and participatory distances are explored, created and undermined.
In their open letter in response to the reporting by local newspapers of an $8,300,000.00 budget deficit— attributed by artforum magazine2 to “managerial oversights”—the curators of documenta write the following:
we believe it is time to question the value production regime of mega-exhibitions such as documenta. We would like to denounce the exploitative model under which the stakeholders of documenta wish the ‘most important exhibition of the world’ to be produced. The expectations of ever-increasing success and economic growth not only generate exploitative working conditions but also jeopardize the possibility of the exhibition remaining a site of of critical action and artistic experimentation.
Hear, hear! Readers of the Russian anarchist thinker, Mikhail Bakunin, will surely discern the robust Propaganda of the Deed the curators generated to illustrate their point. Schadenfreude-infused levity notwithstanding, the curators’ self-exculpating letter touches on a number of serious points: what is the appropriate amount of money to allocate for a public exhibition, particularly in a time in which discursive complexity is being extirpated by shitposts and tweet-length, gesture politics more generally? How can genuine criticality emerge from institutional models of exhibition and engagement? Who has access to a given space at a given time in the context of a curated project in a public space? How is democracy manifested in the cultural life of a polity?
The artists included in mocumenta do not seek so much to answer these questions, but to deepen them, and to present other questions as well, to ask what is gained and lost by mediated notions of outreach. The format of the event, featuring four live performances in Berlin and four in the UK to be live-streamed between the two locations via the corporate data and image distribution platform, Youtube, holds up a funhouse mirror to the “tale of two cities” narrative at the centre of this year’s documenta extravaganza. The event will also include three video works by the Spanish artist, Irene Pérez-Hernández, the Turkish artist, Özgür Kar, and the Czech artist and publisher, Martin Kohout. mocumenta may not aim to reach as wide an audience as documenta, and it makes no pretence to be as all encompassing or ambitious, but the points the artists included examine are no less pressing (and it is also likely to be a far more cost efficient prospect). If we can learn from each other, both Athenians and Kasselites, then we can also learn from ourselves, particularly from our mistakes.
mocumenta will feature performances by Legacy Russell, Uma Breakdown, Eloise Fornieles, Katharina Ludwig, Gerald Curtis, Alice Jacobs, Nikhil Vettukattil, Lou Cantor, and Felix Riemann.
1. paraphrased from an exchanged between Lord Darlington and Cecil Graham in Lady Windermere’s Fan.
2. to read the full article, follow the link: https://www.artforum.com/news/id=71118
Broken Diorama: A Broadcast Exhibition
Please tune in : 12-2pm GMT 18.10.17
( Available on the Radio Quantica Mixcloud Thursday 19.10.17)
The Diorama: a model holding various temporalities in one place, in one scene and usually in 3 dimensions.
A place in which multiple stories or broken retellings can be read as one or in parts; where the sequence of these narratives is dependent on the onlooker.
HERETICS #12 by Diana Policarpo (18/10/2017)
Special Guest Mix
by Alison Ballance and Alice Rekab
Alice Rekab & Alison Ballance
Elin Eyborg Lund & Anders Brasch-Willumsen Susan Conte
Sarah Lederman & Lola Bunting
Alice Rekab & Stephen Rekab
(Mix Engineer: S.Rekab)
Whenever The Heart Skips A Beat
performances, workshops, and an exhibition at Mehringplatz, Berlin
September 1 to 15, 2017
opening & BBQ: 1. September 2017, 15 Uhr
organised by: Marenka Krasomil, Gislind Köhler, Arkadij Koscheew
directions: U-Bahn- und Bushaltestelle Hallesches Tor (U1, U6, 248, M41)
Whenever the Heart Skips a Beat transfers rituals and cultural practices of hospitality into artistic processes. Works by more than twenty international artists, mostly developed specifically for Mehringplatz, intervene into the public space in the form of performances, workshops, and an exhibition taking place at the plaza and in neighbouring stores, making the store-owners hosts of the respective pieces. Mehringplatz, designed by architect Werner Düttmann as an architectural ensemble characteristic of public housing projects of the 1970s, points to a charged relationship due to its position between Friedrichstraße and Bergmannkiez. Whenever the Heart Skips a Beat aims to open up spaces that are frequently overlooked or perceived as inaccessible because of the supposed coherence of the plaza. It thereby encourages changing the perspective, debating (at) the plaza, highlighting conflicts and influencing them by tackling them with rituals of hospitality. Referring to the piece of the same name by the artists’ collective Raqs Media Collective, presented on billboards at Mehringplatz, Whenever the Heart Skips a Beat takes the susceptibility of the heartbeat to feelings of joy as well as insecurity as a starting point for analyzing individual conceptions and collective actions from different artistic perspectives – politically as well as sociologically – to the end of developing own propositions.
Works and contributions by Ayami Awazuhara, Raqs Media Collective, Calori & Maillard, Nuray Demir, Sara Loeve Dadadottir, EVBG, Alexis Goertz, Lina Hermsdorf, Balz Isler & Justin Kennedy, Jonathan James, Katharina Ludwig, Katharina Marszewski, Kristina Paustian, pcnc_bay, Tabita Rezaire, Shirin Sabahi, Maya Schweizer, Hanae Utamura, Shira Wachsmann, Miriam Yammad, Salah Zater u. a.
Gefördert durch Spartenoffene Förderung („City Tax“) und Aktionsfonds Mehringplatz
Northumbria-Sunderland CDT conference 2017
I’m speaking (reading a text) about narrative holes, portals and the wounded/traumatised text and time travel along with many amazing speakers at the AHRC CDT conference at the Baltic. Please follow the link to book tickets (it’s free) and to get more information on the programme and speakers.
DATE AND TIME
Tue 25 July 2017
10:00 – 16:15 BST
(1st Floor Event Space)
The event aims to vocalise, discuss and work through many of the topical issues of conducting practice-based research and similar research and to explore how this research is shaping our world.
This conference will bring together people to explore the many aspects of knowledge production within, across and beyond academic institutions. We welcome people to come along if they are interested and attend for part, or all of, the day.There will be a number of sessions chaired by invited guests from the UK’s Art and Design scene. These sessions will involve a number of researchers sharing something of interest from their recent research practice for up to 10 minutes. Alongside the presentations, everyone present is invited to discuss anything of interest with fellow participants in and around he session. The conference will end with an informal longtable discussion with refreshments and a closing speaker.
0930 – 1000 Coffee and registration
1000 – 1015 Opening of conference by AHRC CDT directors
1015 – 1130 Parallel sessions 1 & 2
Session 1:Diagrams and non-philosophy, Guest speaker Alice Rekab plus members of CDT
Session 2:Paragogy and the Digital. Guest speaker Jake Watts, plus members CDT
1140 – 1255 Parallel sessions 3 & 4
Session 3:Anarchy and Practice, Guest speakers Marc Garrettand Ruth Kinna, plus members of CDT.
Session 4:Territory, Site and Resistance. Guest speakers Diann Bauer and Laura Sillars plus members of CDT
1300 – 1400 Lunch
1400 – 1515 Parallel sessions 5 & 6
Session 5:Performance and Practice. Guest speaker Adian Rifkin plus members of CDT
Session 6:Text as work, Text as portal. Guest speakers Katharina Ludwig and Gillian Whitely plus members of CDT
1525 – 1545 AHRC CDT Summary
1545 -1630 Long Table discussion and Refreshments
There Will Be Nothing Left To Suck
I will give a reading of a new text at the opening night at 6.30 and 7.30pm
Preview: 11 May 6-9pm
11 May – 26 May 2017
Bank Space Gallery
59-63 Whitechapel High Street
London, E1 7PF
DOW Collective would like to invite you to their inaugural exhibition
THERE WILL BE NOTHING LEFT TO SUCK
Catherine Biocca / Byzantia Harlow / Pil & Galia Kollectiv /
Katharina Ludwig / Luke Overin / Ricardo Passaporte / Sophie Rogers
Stimulated by the question “What if…?”, the exhibition suggests scenarios post-present, proposing alternative- unexpected- futures. The exhibition will look to a time where small decentralised communities reclaim the concept of development from larger centralised powers; and reinterpret it through the reappropriation of materials. Both national and international artists question the plausibility of a future where development has superseded itself and production has ceased.
Setting the tone and overall narrative for the show, Katharina Ludwig will present a commissioned text. Part-prediction, part-sermon, a warning of what has / is / will happen.
The text will be performed at 18.30 and again at 19.30 during the opening night.
PhD in Art Writing at Edinburgh College of Art (The University of Edinburgh)
I’m very excited to announce that I started my PhD at the ECA. The working title of my research project will be: Time in Text, Text in Time and Text and Time – (Art) writing as a time-based medium. Supervisors: Dr. Susannah Thompson, Dean Hughes and Maria Fusco
Ghost Flowers @ Herrmann Germann covered by Art Viewer
Ghost Flowers at Herrmann Germann Contemporary, Zurich
Riley Harmon, Marie von Heyl, Anna K.E. & Florian Meisenberg, Maude Léonard-Contant, Katharina Ludwig, Nora Mertens
curated by Lea Schleiffenbaum
Opening, Friday 11 November 2016
12.11. – 23.12.2016
Herrmann Germann Contemporary
CH – 8003 Zurich
Image: Anna K.E. & Florian Meisenberg, Countdown Belladonna 2016
Courtesy Simone Subal Gallery, New York (US)
What if you slept
And what if
In your sleep
And what if
In your dream
You went to heaven
And there plucked a strange and beautiful flower
And what if
When you awoke
You had the flower in your hand
Ah, what then?
— Samuel Taylor Coleridge, 18. Jahrhundert
The 21st century is often named the digital age. In the early 2000s we were already talking about the Post-Internet era. Everyone born after 1980 counts as a »digital native«. Digital natives seem to move effortlessly through spaces, overcoming national borders and social hierarchies. Yet are the phenomena generally credited to the digital revolution really new? Does Coleridge’s poem from the 18th Century not suggest instead that the creation of virtual worlds is a quality inherent to the human imagination? Do I not experience emotions stirred by digital media just as keenly as I do those aroused by direct, physical experience? The exhibition Ghost Flowers at Herrmann Germann Contemporary is an undertaking to break down boundaries between virtual and real, digital and analogue and to explore both levels as experiential spaces on equal terms. The Internet will, thus, become an additional public space that we can inhabit and design.
The role-play and alter egos which define life on the net are a key element of Riley Harmon’s artistic practice. According to Harmon, the unconscious knows no difference between reality and simulation. Here images, music and dreams are dealt with like real facts. In his film A Method for Blue Logic voices off read a collage of lines Harmon sourced from an online forum, leading through dream-like visual sequences. The voices discuss a conspiracy theory that the American government has employed an actress to be a national hero. A young blond woman sings a cover of the old jazz standardGeorgia on my mind.
While Harmon is engaged with role-play and myths, Nora Mertes investigates our physical appreciation of spaces and images in her spatial interventions and installations. Her works are often like experimental arrangements in which the viewer plays an active part as an observing and observable body.
Marie von Heyl bridges the sensory experience of objects and their virtual adaption. »We have no empathy with objects that give away how they were made. […] Craft bores us«, writes the artist in her Alien Object Manifesto. Her focus on surfaces is also apparent in The Occasional Table Series. Everyday objects covered with grey spray-paint look at a first glance as if they might be computer generated. Only on a closer look do small »flaws« or unevenness become visible. The misused use-objects exist somewhere on the cusp of being and seeming, between practicality and fetish.
The collaborative work Countdown Belladonna by Anna K. E. and Florian Meisenberg enables the viewer to look through the artist’s eyes in a true sense. Both videos show close-up footage of K. E. and Meisenberg’s eyes as they look at the displays of their smartphones. YouTube films, dance performances, music videos and film excerpts are seen in reflection on their pupils. The videos have a highly intimate and yet strange effect, as they bear witness to the nature of interpersonal relationships as well as the potential, though also the dangers, of the latest technical developments. The window to the soul here becomes an interface, while divergences such as man and machine, body and soul, are nullified.
A further leitmotif that runs through the exhibition is that of language. In her films, installations and objectsKatharina Ludwig investigates the narrative structures that define our lives and that maintain power relationships. While objects serve her as sketches for the conceptual development of her installations, words find intuitive entry points in the works. Instead of explaining or describing, language here creates space for multi-layered interpretative approaches.
This vague and veiled method of dealing with language can also be found in Maude Léonard-Contant’s works. The texts in which the sculptor describes the material qualities and the forms and colours of not-yet-realised objects have a bewildering rather than clarifying effect. Here language becomes a virtual medium that forms new bodies. Léonard-Contant’s objects will be exhibited together with the related texts for the first time in the exhibition Ghost Flowers.
Open Studios at Mörikestraße
sat 2pm – 8pm
sun 12pm – 17pm
Studio nr. 25
Residency at Abingdon Studios June/July 2016
I’m very happy to be invited to be part of the WORK/LEISURE residency programme at Abingdon Studios in Blackpool (UK).
Work/Leisure is a pilot programme of five residencies, inviting emerging and mid-career artists to work alongside the community of resident artists based at Abingdon Studios, Blackpool. These short term residencies are non-prescriptive and designed to enable artists to research and develop new work in the historically and culturally unique location of Blackpool.
Work/Leisure is delivered in partnership with LeftCoast and Grundy Art Gallery.
Work/Leisure and Abingdon Studios are made possible through the support of Arts Council England and Blackpool Council.
Setzen, Stellen, Legen – Kunstquartier Bethanien, Berlin
26th February 2016,
7pm, Mariannenplatz 2, 10997 Berlin
I answered questions posed by Katie Stafford, who interviewed me in conjunction with my residency at Grand Union, Birmingham.
Read the interview here
Birmingham Digbeth First Friday
6 November 2015
7pm -10pm, Grand Union, 19 Minerva Works Fazeley Street Birmingham B5 5RS
Tapas and cocktails (made by the amazing chefs of Nomad) and I’m doing a quasi-performance/reading
Birmingham City University, Lecture series Fine Art
4 November, 2pm
Residency at Grand Union Birmingham, UK
Looking very much forward to spend the month of November as artist in Residency at Grand Union, Birmingham. Thank you, Kim McAleese, Joanne Masding and Oliver McCall.
Flatness/Interruption – on 3:AM Magazine
My diagrammatic piece of writing has been published by 3:AM Magazine.
Read it here: www.3ammagazine.com/3am/flatnessinterruption/
Thanks @fkraeutli for the help with coding <3
Die Dritte Hand – Last Exit Painting
curated by Lea Schleiffenbaum & Anne Schwarz
Marburger Str 3
photos: Nick Ash, Kuba-Paris, Lea Schleiffenbaum
Die Dritte Hand: Last Exit Painting – Salon Dahlmann, Berlin
Opening 23th January 2015, 6-9 pm
With works by: Matthias Dornfeld, Philip Guston, Katharina Ludwig, Eddie Martinez, Felix Oehmann, Janne Räisänen, Maeve Rendle, Stefan Sulzer
„It all boils down to a question of faith”, so beginnt Thomas Lawsons berühmter Aufsatz „Last Exit Painting” von 1981. Lawson beschreibt darin Malerei als letzten Ausweg einer freien künstlerischen Praxis, nach deren radikaler Sezierung durch die Konzept- und Aktionskunst der 1960er und 1970er Jahre. ‚Faith’ heißt auf Deutsch sowohl ‚Vertrauen’ als auch ‚Glaube’. Beide Worte setzen ein gewisses Loslassen von Seiten des Subjekts voraus, eine Hingabe, wenn man so will. Lawson spricht auch von der ‚Naivität’, die ein Künstler besitzen muss, um seiner Tätigkeit nachzugehen, getragen von der Hoffnung, dass „am Ende alles gut werde.”
Es ist schwer vorstellbar, dass Philip Guston das Wort ‚Hoffnung’ oder ‚Naivität’ im Zusammenhang mit seiner Malerei verwendet hätte. Aber auch er spricht von einer unterbewussten Kraft, die den Künstler zum Werk bringt.
In dem 1980 entstandenen Film Philip Guston. A Life Lived von Michael Blackwood bezeichnet er diese Macht als „dritte Hand”, die am künstlerischen Prozess beteiligt ist. Guston beschreibt die Zusammenarbeit wie folgt: „You’re painting a shoe; you start painting the sole, and it turns into a moon; you start painting the moon, and it turns into a piece of bread.”
Diese künstlerische Herangehensweise führt dazu, dass Guston in seinen Bildern oft unerwartete Gegenstände kombiniert. Das Überraschungsmoment setzt einen gedanklichen und psychologischen Prozess in Gang, der erstmals von den Surrealisten beschrieben wurde. Durch die Loslösung vom rein rationalen Handeln strebten diese eine Sichtbarmachung des Unterbewusstseins an.
Die Ausstellung Die dritte Hand – Last Exit Painting vereint neben Werken von Philip Guston Arbeiten von jungen Künstlerinnen und Künstlern, die sich mit der Thematik der „dritten Hand” im Sinne einer Lockerung des Subjekt-Objekt Verhältnisses beschäftigen. Die beteiligten Künstler Matthias Dornfeld, Eddie Martinez, Felix Oehmann und Janne Räisänen benennen Philip Guston als ein wichtiges Vorbild. Sie sind in ihrem Werk direkt oder indirekt von den Arbeiten Gustons beeinflusst, dem ‚Künstler-Künstler’ – ein inzwischen fast inflationär gebrauchter Begriff, der bei Guston dennoch seit vielen Jahrzehnten zutrifft.
Opening – Das Spiel der Dinge / The Play of Things 09.05.2014
Photos by Raphael Sprenger and Florian Kräutli
Das Spiel der Dinge / The Play of Things – Kunstverein Östliches Sauerland
Katharina Ludwig und Christoph Mause
9th May – 8th June
Kunstverein östliches Sauerland
Museum Haus Hövener
Am Markt 14
Aesthetica Art Prize
York St Mary’s
May Occur, Paragraph
Welcome to InDependence
Opening 6th March 2014
in collaboration with Berta Koch Collective
The Rag Factory
16-18 Heneage Street