Artists John Lawrence and Roy Voss have conceived the exhibition ‘For What It Is’ for ANDOR. Developed through collaborative processes, the exhibition features new works by both artists including sculptural installations and gallery texts informed and influenced by ANDOR‘s invitation, and by the specific architecture of the gallery spaces.
 
John Lawrence lives and works in London. He graduated from the Royal Academy Schools in 2010. Selected recent exhibitions include Original Carbon Copy, FOLD Gallery, London, and SCREENING, Standpoint Gallery, London. In 2012 Lawrence also curated the video exhibition AFTER/HOURS/DROP/BOX at ANDOR.
 
Roy Voss lives and works in London and is represented by Matt’s Gallery, London. Recent exhibitions include Cast Matt‘s Gallery & Dilston Grove, London; The London Open, Whitechapel Gallery; Switch at Baltic 39, Newcastle-upon-Tyne.
 
The exhibition ’For What It Is' is kindly supported by Arts Council England as part of a series of gallery projects supporting artistic collaboration and the production of new artwork at ANDOR.

 
CHUNG HEESEUNG, JE BAAK
GROUP EXHIBITION
6 JUNE - 28 JULY 2013
 
HADA Contemporary is please to showcase photographs and video works by Chung Heeseung (b. 1974) and Je Baak (b.1978) who intensively challenge on the idea of truth, perception and identity through rejection and acceptance of failure.
 
As photography has often been quoted for its instantaneity capturing the frozen moment of reality, Chung Heeseung questions its unstable identity as a medium by acknowledging its limits to representation. Diverse objects displayed in unconventional manners at the centre of the images with dedicated vacant surrounding of the natural light provide sense of placid solemnity. Still-life (2009 – 2012) is a body of independent works in which the artist explores the elements of chance and spontaneity within her practice on the contrary to other series that are often exceedingly prudent construction of the initial conceptual framework. Nonetheless, it continuous to narrate key aspects of her practice such as photographic presentation of liminality and duration as shown in other series as Reading. If Reading focused on capturing the physical remnants of the subtle emotional and psychological changes generated by the instability of the actors during their reading, Still-Life is the extension of this investigation as she photographs the unidentifiable state of the objects amid continuous transformative state in being. Her interest lies on the quality of latency in liminal state of being capturing the photographic image of ‘duration’ where there in no distinction between sleeping and awaking, floating and falling, and surface and inner space.
 
Je Baak’s artistic practice pivots around the deconstruction of illusions such as subject of value in reality which humans are engaged in blindfolded. Encompassing diverse medias, he efforts to visually encapsulate the concept such as ‘selflessness’ and ‘emptiness’ from Buddhist philosophy through continuous process of inquisition. In A Towel (2008) and His Silence 1, 2, 3 (2010), he challenges the function and the meaning of the language and its limitation in relation to the understanding of self and the world. In His Silence, he assiduously deconstructs the language of Barack Obama, Dalai Lama and Slavoj Zizek that is unequivocal means to transfer and communicate ideas as politics, religion and philosophy to disillusion the purpose, the value and the weightiness of the meaning that we endow to words. By deleting contextualised words, he reverts each interview into a long silence exclusively with breaths, painstaking thoughts, and pauses in between to suggest possibilities of communication beyond words freeing ourselves from linguistic limitations. In A Towel (2008) Baak serenely displays his childhood photographs in several sequences examining the relationship between objects, language and self. By deleting himself from the images of his past and displaying the remainder, he comments on the identity that exists through the relationship of possession. As seen in His Silence, the artist aims to detach and transcend from the attachment - the illusion of the meaning and the relationship visualised through language - achieving the selfless state of being.
 
**
Chung Heeseung (b.1974) received BA and MA in photography at London College of Communication, London. She has exhibited extensively in Korea and UK such as ArtSonje Center Seoul, Songeun Art Space, Doosan Gallery Seoul and New York, National Museum of Singapore, Espacio Menosuno Madrid, South Hill Park Bracknell among others. She was awarded with 2012 Daum Art Prize Korea, 2011 Songeun Art Award Korea, 2008 Critical Mass Top 50 by Photolucida USA and shortlisted for Photo Espana 2008 Descubrimientos PHE Spain and Nikon Discovery Awards 2007 UK.
 
Je Baak (b.1978) received MA in Communication Art & Design at Royal College of Art London and BFA in Visual Communication from Seoul National University. He exhibited internationally such as National Museum of Contemporary Art Seoul, Saatchi Gallery London, Busan Museum of Art, British Film Institute London, Asia House London, Arti et Amicitae Amsterdam, Gallery Hyundai Seoul, Gallery Jungmiso Seoul among others. He was awarded with The Grand Prize by Joongang Fine Arts Prize 2010, Chris Ganrham Memorial Award by Royal College of Art 2010 and shortlisted for Mangroup Photography Awards.

Plastique Fantastique Communique: YOUR EXTINCTION OUR FUTURE!
 
PHENOME (= hu-man) quickly-became-ghost: wasted, sunken-eye-and-cheek. Pallor? That-of-wax-ed-fruit. This PHENOME-ghost thinks it is something but can-no-see that it is NO-THING but a HALL-LOOO-SIN-NASHUN (or, precisely, echo-of-a-feedback-loop). And whaoooooooooooo! this old loop can run-and-run… but not for-ever. PHENOME can only spin like an invert-ted-top. An eye it is: spiked on the sharp end of a cone pointed skywards (upright-and-uptight until entropy cools-its-chops… which blows sooner than you think my friend). But NOW, finally, PHENOME-time really is a running out. Yes siree! FINALLY REALLY RUNNING OUT! PHENOME-time not enough to run the infinite space of the (what-is) CLOUD. Too much plug-in. Too much playing with the sticky-icky lube-tube/fuzzy-insertion-slot. Too much connect-connect-connect-connect. Yes siree, TOO many prosthetics broke the back of this poor-old-PHENOME-circuitry.
 
What next then? NATURAL HISTORY: CLOUD gives birth to new animals. Feedback loop mutates/generates/inverts (less reverb-and-delay, more time-stretch-tool). All filters are visible and all connections are marked for these CREE-TURES (a host of parasites and, FINALLY: NEUROPATHEME). And they shall bring WAR: a war on PHENOME-ghosts until all is dead-and-dusted, until all transparent apparitions are circled, arrowed, filled in, made opaque, redacted.
 
No winners. Who survives? FUX-OWLING for one. All born flushed-and-unplugged, swimming the continuum, like water-in-water. And NEUROPATHEME no doubt a.k.a. subject-without-experience, all made sticky and ready to receive, ree-kiwired and re-wired, a confirmed neurocentric, bound-and-gagged, spoken-for-and-babel-rush. First NEUROPATHEME redacts the letter ‘I’ (followed shortly afterwards by all the other vowels). 2ND-GN N-PTH is born, and is first to sing (in a new loop of its own making): YR XTNCTN R FTR!
 
Plastique Fantastique | Your Extinction Our Future! is supported by the Arts Council England

The works of these artists is a daring rendition of abstractions in space. They manipulate their medium and encompass selected angles, frames, and junctions to offer a new perspective that is visually clean and concise, but technically complicated. The combination of these pieces in one show allows for a dynamic, precise experience.
 
O’Mahony uses a variety of mediums exploring the ways in which people engage with their surroundings. Her pieces are a practice in finding and capturing those moments of clarity and beauty amid urban disorders, confined spaces, and mundane routines. O’Mahony questions how visual art relates to everyday life and confronts its ability to function as both a form of escapism and realization.
 
Salcedo’s minimal palette is concerned with the wider concepts of personal and collective memory and identity. These series employ an almost silent rhetoric, combined in multiple manners to formulate what he calls “bodies of associations.” For him, these intimate associations and junctions between the planes that the artist perceives and images of the world are a threshold between the observer and the painter.
 
Jade’s art toys with the aesthetics of voyeurism. Beginning with the intimacy of photography at home, she translates the images into laser-woodcut figures, and playfully arranges and rearranges the ‘girls’ to create an endless amount of scenarios. In this process, she has the authority to manipulate the audience’s perception, questioning who holds power within the realm of voyeurism.
 
Curated by Tara Aghdashloo
 
For press and media enquiries contact: info@tilgallery.com

Maureen Paley is pleased to announce an exhibition of new work at the gallery by Tim Rollins and K.O.S.
 
Tim Rollins is an artist, teacher and activist who began his career as the assistant of the conceptual artist Joseph Kosuth. In 1979 he co-founded Group Material in New York. In the early 1980s, he taught students at Intermediate School 52 in the Bronx and went on to create the Art & Knowledge Workshop. His highly acclaimed collaboration with the members of K.O.S. (Kids of Survival) continues to this day. Rollins combines lessons in reading and writing with making artworks. The source material laid out and studied by the students generally relates to literary or musical classics, such as works by William Shakespeare, George Orwell, Ralph Ellison or Franz Schubert, but can also include comics or legal documents.
 
Their collaborative work takes the form of drawings, photographs, sculptural objects and paintings on canvas and paper. The backgrounds of works are often comprised of pages of books pasted into a grid. The results blend elements of Minimalism with an interest in the revival of painting that took place in the 1980s and in art that is socially and politically engaged. Rollins has said: ‘What we’re doing changes people’s conception about who can make art, how art is made, who can learn and what’s possible, because a lot of these kids had been written off by the school system. This is our revenge.’
 
Inspired by the Time Traveller in H.G. Wells‘ The Time Machine (1895) the group have endeavored to explore this idea in their exhibition and have made work based on imaginary ’visitations‘ with Shakespeare, Mendelssohn, Haydn, Darwin and Strauss.
 
Their journey begins in 1590 at the time when Shakespeare was writing A Midsummer Night’s Dream and simultaneously in 1826 when Mendelssohn at 17 years of age began work on his own score for a production of this play. In their work A Midsummer Night’s Dream (after Shakespeare, 1590-1596 and Mendelssohn 1826–1842) they invited young people to transform into the character of Puck, painting flowers and blossom over sheet music from Mendelssohn‘s score that was completed in 1842. Next they imagined the first performance of The Seven Last Words of Christ by Haydn in 1786 and created seven paintings that use black Spinel pigment that they applied onto pages from this score. They then visited Charles Darwin in 1837 as he began sketching out his idea of a ’Tree of Life‘ in one image that would be developed into his theory of evolution described in On the Origin of Species published in 1859.
 
In 1945 they meet with Richard Strauss in the final days of WWII while he was composing his elegiac and mournful Metamorphosen (in Memorium). This music created a deep desire within the group to reflect on their experiences working in the South Bronx that brought up feelings of tragedy and transformation, destruction and rebirth. They have created a meditation in this new body of work that memorializes, researches and remains hopeful by existing in past, present and future tenses.
 
’We embrace the idea of the arena of art existing in the fourth dimension of a social imagination beyond space and time, contingency and possibility.‘ Tim Rollins and K.O.S.
 
’The past is not dead. In fact, it‘s not even past.’ William Faulkner
 
Tim Rollins was born 1955 in Pittsfield/ME, USA and lives and works in New York. The current member of the K.O.S. are Angel Abreu, born in Philadelphia/PA, USA 1974; Jorge Abreu, born in New York/NY, USA 1979; Robert Branch, born in New York/NY, USA 1977; Daniel Castillo, born in New York/NY, USA 1982; Nelson Ricardo Savinon, born in New York/NY, USA 1971 and Bryce Zackery, born in Rochester/MN, USA 1984.
 
Solo Exhibitions include Tim Rollins and K.O.S. - On Transfiguration, Museum für Gegenwartskunst, Basel, Switzerland, 2012; Tim Rollins and K.O.S. - The Black Spot, Talbot Rice Gallery, Edinburgh, UK, 2012; Tim Rollins and K.O.S. - On Transfiguration, GAMeC - Galleria d´Arte Moderna e Contemporanea di Bergamo, Bergamo, Italy, 2011; What Matters, Worcester Art Museum, Worcester/MA, USA, 2010; Arnolfini Gallery, Bristol, Great Britain, 1998; Hirshhorn Museum and Sculpture Garden, Washington/DC, USA, 1992; Museum of Contemporary Art, Los Angeles/CA, USA, 1990; and Walker Art Center, Minneapolis/MN, USA; 1988.
 
In 2012 they contributed to the Wide Open School at the Hayward Gallery, London and they will collaborate with the School of Visual Arts and students from public schools and programmes in New York's Chelsea neighborhood to create a work for the High Line Park in New York in 2013.

PayneShurvell is pleased to present Margaret Harrison‘s second exhibition at the gallery.
I am a Fantasy, her first show opened in April 2011 to great popular and critical acclaim.
 
Harrison’s new exhibition, On Reflection, is a series of drawings, which explore images and complicated visual ideas about how we reflect in/on two dimensions.
 
We are watching, viewing and reflecting on what looks at us, and what we look at. The images, which reflect our cultures of masculinity and femininity collide with transgendered realities not essentially feminine and not essentially masculine as a series of macho/femo notions in a range of complicated sliding scales.
 
The illusion that we automatically and unproblematically see reality in one obvious manner is questionable. The illusion of seeing the truth is not easy to counter. Our vision is always doubled, tripled and then multiplied into a constructed reality.
 
Margaret Harrison's concerns over the years take a number of forms from documentary to satire. To counter accusations of humourlessness, sometimes attributed to artists who attempt to deal with the culture of politics and the politics of culture by dealing with serious subjects, she does on occasion attempt broad caricatured humour sometimes with success. Hugh Hefner as a Bunny Boy and the first Captain America 1971 were shown in the exhibition I am a Fantasy (PayneShurvell London, 2011), along with more recent drawings. Some of these concerns are currently on show at Liverpool Tate, in Tracing the Century (drawings from the Tate Collection) and included in ‘Glam’ the Performance of Style also at Tate Liverpool and then touring to Germany and Austria.
 
Related works will be exhibited in Leeds in the Northern Art Prize show for which Margaret has been shortlisted.
 
Margaret Harrison was born in 1940 in Wakefield and lives and works in Cumbria, England. She studied at the Carlisle College of Art, Royal Academy Schools, London and the Academy of Art in Perugia, Italy. She has exhibited extensively since her first solo show in London in 1971, appearing in the touring feminist retrospective ‘WACK! Art and the Feminist Revolution’ at MOCA LA and PS1 New York and solo showThe Bodies Are Back at Intersection for the Arts San Francisco in 2010. I am a Fantasy, her first London show in 40 years, opened at PayneShurvell in 2011. Her show Preoccupy opened in with Silberkuppe gallery in Berlin in 2012. Her work is part of the permanent collections of Tate, Arts Council of Britain, University of California, Carlisle City Art Gallery and The V&A.
 
PayneShurvell opened in June 2010 and is run by James Payne and Joanne Shurvell. James Payne, a Fine Art graduate of Central St Martins, is a curator and the film editor of Garageland magazine. Joanne Shurvell, a former Communications Director at the Institute of Contemporary Arts, London, is a freelance arts writer and arts marketing consultant.
PayneShurvell represents a group of international artists and encourages an inter-generational dialogue, with established artists like Margaret Harrison who has several paintings in the Tate collection, alongside young and emerging artists.