Ickburgh Road, London 28/05/1/07 - 01/06/07

An installation in an unoccupied flat, East London, viewed alone by appointment

Supported by Arts Council England and Calouste Gulbenkian Foundation

Lisa Alexander: Concept, Artistic Direction, Recordings, Editing and Production Design

Rob Canning: Sound Composition, Technical Direction, Recordings

64c took the form of an 8 channel sound, visual and olfactory installation in a ‘home’-site bereft of occupants and furniture - an abandoned place, empty of (the majority) of its usual objects, but still heavily laden (and recognisable) as the familiar, intimate site of the home. The piece explores what a psychical-tangible space of memory can be and the sensory memory triggers bound-up in physical sites and visceral spaces, in part through a displacement and juxtaposition of intimate and home-generated recollection and objects into another space – time – location – and home-site, and in addition through the creation of an environment in which to encounter an intimate rendering of memories and their traces.

Visitors were invited to make an appointment to inhabit the flat alone for up to an hour - many spending over 40 minutes in the space - most leaving messages for the next visitor to happen upon.

“I wanted to thank you for the experience - it was both reassuring and unsettling to experience memory in such tangible form, a validation of this much neglected part of our existence. What happens to what is no longer happening? You gave it existence.”

Claudia Jefferies

“I just wanted to say how much I enjoyed your installation 64c.

I felt like a detective piecing together a fragmented assemblage of memory, emotional loss, private journals, and other fragmented narratives. The space felt erotically charged and gendered old stockings, the bathroom ribboned in black, the red pod that felt womb-like and secretive, the peep hole video work. Something melancholic and sexual lurked in the spaces, and as spect-actor I both acted upon the props and objects that I came across and reflected on the people who wrote or left these pieces of text, clothing and diaries.

It’s difficult not to recall Gregor Schneider’s Die Familie Schneider when poking about in a domestic space on your own. Schneider allows the orderly nostalgic everyday domestic home to possess you like a horrible claustrophobic nightmare, but Lisa Alexander’s world is one of loss and sadness, messy but intriguing in its possession of an empty flat temporarily inhabited by an ensemble of memories.”

Manick Govinda, Artsadmin