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Species of Spaces
Zoë Carlon, Johannes Kuczera & Matthias Odin
Until 14 November

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Johannes Kuczera features in ‘Species of Spaces’ on view through 14 November at the gallery, alongside work by Zoë Carlon and Matthias Odin. @johanneskuczera

In his genre-spanning photographs, Johannes Kuczera often depicts social and visual-cultural developments that he either reflects by himself or that are revealed to him through the behaviour of others, his own behaviour, or the contradictions within the environments of his lived experience. Above all, he is interested in the commodification of the visible world and the phenomena associated with it.

Johannes Kuczera (b. 1993, Augsburg, Germany), lives and works in Hamburg, Germany, and studied at Hochschule für bildende Künste Hamburg, Hamburg (2024) and Luca School of Arts, Brussels (2023—2024). Recent exhibitions include La Chambre de Bonne (Paris, France, 2025) and Tanner at St. Kindelein (Hamburg, Germany, 2025). Publications include Pfeil Magazine and Double Magazine as well as several self-published books and portfolios. Kuczera is also the founder of clovis, formerly clovis basement, recent exhibitions include ‘you just stumble your way through’, clovis basement (Brussels, Belgium, 2023), ‘the cauldron, the stomach’, clovis basement (Brussels, Belgium, 2025) and ‘indirect lighting’, clovis, (Hamburg, Germany, 2026).

Johannes Kuczera
angle culture complex
2026. c-type print, acrylic glass, mdf
60 (H) x 90 (W) x 1.2 (D) cm
Edition 1/1 by @southparade_

The gallery is pleased to announce that Tom Hardwick-Allan’s set of three wood engravings — Z, Y, X (2022) — is now in the collection of Museum and Art Swindon, thanks to the generosity of Umut Korkut.

Thank you to Katie Ackrill (Collections and Exhibitions Officer) for stewarding this work and acquisition.

Z (lightning slices tree), 2022. Wood engraving print on Zerkall paper, 19 x 19 cm, 1/11 + 3 AP’s

@tomhardwickallan @museumartswindon

Y (falcon feeds atop slice of fallen tree), 2022. Wood engraving print on Zerkall paper, 19 x 19 cm, 1/11 + 3 AP’s

X (falcon slices mute into falconer), 2022. Wood engraving print on Zerkall paper, 19 x 19 cm, 1/11 + 3 AP’s

(Detail) Z (lightning slices tree), 2022.

(Detail) Y (falcon feeds atop slice of fallen tree), 2022.

(Detail) X (falcon slices mute into falconer), 2022. by @southparade_

Zoë Carlon features in ‘Species of Spaces’ on view through 14 November at the gallery, alongside work by Johannes Kuczera and Matthias Odin. @zecarlon

Zoë Carlon’s paintings reveal episodic scenes depicting transitory spaces. Motivated by her questioning of how our attention is divided and the rare conditions that permit total solitude, her paintings engage with the introspective nature of private observation. Using a vibrant palette and ambiguous framing, her compositions are specifically cropped close and relieved of explicit context. The scenes function less as narrative records and more as atmospheric impressions; spaces that feel familiar yet resist clear identification. Carlon’s process is influenced by the qualities of her chosen aluminium surface. The solidity and resistance of the surface play a crucial role in the application and build-up of oil paint, allowing her brushstrokes to maintain their distinctive texture as the layers accumulate over time.

Zoë Carlon (b. 1993, Wakefield, UK) lives and works in Leeds, Yorkshire, UK, and studied at the University of Leeds, UK (2013–2017) and the Hungarian Academy of Fine Arts, Budapest, Hungary (2015–2016). Recent solo exhibitions include Ruthin Craft Centre (Ruthin, Wales, 2026) and South Parade (London, UK, 2024, 2022). Recent selected group shows include 12.26 Gallery (Dallas, USA, 2026), Hales Gallery (London, UK, 2025), Guest Gallery (New York, USA, 2024) and Super Super Markt (Berlin, Germany, 2023). Zoë’s work is in the public collections of The Government Art Collection (London), The FUAM Collection (University of Leeds), the Royal Drawing School Collection (Dumfries House) and the X Museum (Beijing).

Zoë Carlon
Corner Table
2026
Oil on Aluminium
99 x 68 cm by @southparade_

Today is the final day of Frieze London and our solo presentation by Tom Hardwick-Allan. Find us at Booth F28 in the Focus Section. @tomhardwickallan

Tom Hardwick-Allan, Secrets of the Fruitfly, 2025–2026. Books, glassine, oil, iron paste, Dimensions Variable by @southparade_

Frieze London continues this weekend. Tom Hardwick-Allan’s solo presentation entitled ‘Engine of Sickness and Light’ can be found at Booth F28 (Focus). @tomhardwickallan

Developing his inquiry into imprinting—the early associations through which perception and social understanding are formed—the presentation considers how information is transcribed and transmitted over time.
Hardwick-Allan approaches printmaking not simply as a means of reproduction but as a way of thinking through contact. As a technology of distribution that has become relatively obsolete, print takes on a symbolic significance. Drawing, sculpture, installation and writing become forms of this expanded printmaking.

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Tom Hardwick-Allan
Engine of Sickness and Light, 2026
Ink, acrylic, pen, shellac, vinegar and iron on carved birch plywood
94½ (H) x 106¼ (W) x 1 (D) in.
240.00 (H) x 270.00 (W) x 2.40 (D) cm by @southparade_

As part of our Frieze London presentation we are pleased to release a new limited edition wood engraving by Tom Hardwick-Allan. Available to view on our booth and for more information please DM / email isaac@southparade.biz

‘The Production of Obsolescence Pictures its Own Origin in the Engine of Sickness and Light’
2026
Wood engraving on Munken paper
Print: 13.5 (H) x 11 (W) cm
Paper: 27.6 x 25.4 (W) cm
Edition of 35 + 5 AP
Unframed

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The thumbprint of the artist, scarred whilst making the sculpture ‘Fetus < Falcon’ (2025), becomes the eye of the chick. The eye is animated by a chemical battery made from a sliced lemon, a penny and a nail: a reverse alchemy in which base metals exchange electrons through the conductive acid of the fruit.

The thumbprint becomes a symbolic expression of imprinting—the term used to describe the early attachments formed by birds towards members of their own and other species. Here, imprinting is understood as a kind of engine: a mechanism through which information, behaviour and recognition are transmitted and carried forward.

The work considers seeing and being seen, and the possibility of an embodied obsolescence becoming self-perceiving. The artist’s own mark becomes the organ through which the depicted bird looks back.

The thumbprint also invokes Thomas Bewick, a foundational figure in wood engraving, who incorporated a fingerprint into one of his prints. Bewick’s extensive depictions of birds, and the Bewick’s swan, named after him, extend this connection between the artist, the printed image and the avian subject.

The work also takes its title from the terminal avian disease known as ‘going light’, in which a bird mysteriously wastes away. This becomes a point of connection with the artist’s own experience of autoimmune disease: his gut itself becoming inscribed, while weight is continually lost.

Wood engraving is the controlled release of the paper’s light. Light is cut into the surface of the wood, and it is through the removal of material—the absence left by the cut—that the image is illuminated.

The aforementioned ‘Fetus < Falcon’ (2025). Cast iron and graphite, 110 (H) x 160 (W) cm by @southparade_

South Parade is at Frieze London with a solo presentation by Tom Hardwick-Allan at Booth F28 (Focus), entitled Engine of Sickness and Light. @tomhardwickallan

Left: Engine of Sickness and Light, 2026. Ink, acrylic, pen, shellac, vinegar and iron on carved birch plywood, 240 (H) x 270 (W) x 2.4 (D)
Right: Secrets of the Fruitfly, 2025–2026. Books, glassine, oil and iron paste, dimensions variable by @southparade_

The gallery is open 12–8pm today as part of the Frieze Bloomsbury Afternoon. ‘Species of Spaces’ features painting, photography and sculpture by Zoë Carlon, Johannes Kuczera & Mattias Odin (captioned). The gallery is open next week Wednesday—Saturday (12–6). Please join us, walk throughs available !

Matthias Odin’s assemblage sculptures are composed of found objects gathered through wandering the city, as well as through family, friendships and shared experiences. He explores movement, adaptation and disorientation, drawing on his experiences of occupying temporary, improvised and marginal spaces. Objects carry traces of their previous lives and histories, becoming markers of time as they are accumulated, transformed and brought into new relationships. His compositions move between chance and control, with familiar materials and objects taking on new forms and associations.

Matthias Odin (b. 1995, Lyon, France) lives and works in Paris, France, and studied at Ecole nationale supérieure d’arts de Paris Cergy (ENSAPC), France (2023). Recent solo exhibitions include French Place (Milan, Italy, 2026), Galerie Tator (Lyon, France, 2026), Galerie Peter Kilchmann (Paris, France, 2026) and FRAC Île-de-France (Paris, France, 2025). Recent selected group exhibitions include Janitor (Brussels, Belgium, 2026), Spare Room (Paris, France, 2026), Café des Glaces (Tonnerre, France, 2026), Dvir Gallery (Paris, France, 2025), Frac Villeurbanne/Rhône-Alpes (IAC), (Lyon, 2025, Lyon Biennale), the Centre Wallonie-Bruxelles (Paris, France, 2025), La Graineterie (Houilles, France, 2024), Palais de Tokyo (Paris, France, 2023), FRAC Corsica (Corsica, France, 2022), Palazzo S.Giuseppe di Polignano a Mare (Bari, Italy, 2022) and Keiv Gallery (Athens, Greece, 2022).
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Matthias Odin, Dans la main d’ici, 2025. Plexiglass, plastic flower, plastic brain, paper, glass, MDF board, 38 (H) x 40 (W) x 60 (D) cm

@matthias_odin
@zecarlon
@johanneskuczera by @southparade_

As we look forward to Tom Hardwick-Allan at Frieze London, we take a moment to look back to our first solo collaboration.

To mark this occasion there will be a reissue of ‘Studio Log’, a handwritten zine from 2022 that reflects on the circularity of time and finds new resonance in our presentation.

Tom Hardwick-Allan, Studio Log, 2022/2026. Artist’s book, 8 pages, signed edition of 100.

Booth F28, Focus Section
Frieze London, Regent’s Park, 14–18 October
Isaac@southparade.biz for more information and previews.

@tomhardwickallan @friezeofficial by @southparade_

South Parade is pleased to present “Species of Spaces”, a three-person exhibition bringing together painting, photography and sculpture by Zoë Carlon, Johannes Kuczera and Matthias Odin. Now on view through 14 November.

The exhibition takes its name from Georges Perec’s Species of Spaces (1974), an exploration of how we inhabit and perceive the spaces around us, moving from the intimate scale of the room to the street, the city and the world.

@zecarlon @johanneskuczera @matthias_odin by @southparade_

South Parade is pleased to present ‘Species of Spaces’, a three-person exhibition bringing together painting, photography and sculpture by Zoë Carlon, Johannes Kuczera and Matthias Odin. Please join us for the opening on Friday 25 September (6–8pm).

The exhibition takes its name from George Perec’s ‘Species of Spaces’ (1974), an exploration of how we inhabit and perceive the spaces around us, moving from an intimate scale of the room to the street, the city and the world. Space is encountered, constructed and reconfigured.

@zecarlon
@johanneskuczera
@matthias_odin

With thanks to Galerie Peter Kilchmann. by @southparade_

Zoë Carlon’s solo exhibition ‘Holding still’ is now on view at Ruthin Crafts Centre, The Centre for Applied Arts, Ruthin, Wales (4 July—20 September).

The exhibition brings together paintings, prints and drawings for the first time. Focusing on the garden outside her studio, Zoë began with photographic and drawn studies, developing these initial observations into a series of oil monotypes, collaterals prints and paintings. The exhibition is curated by Ann Jones.

“Carlon’s interest lies in the economy of attention; the system by which human concentration, or lack of, is harvested, monetised and redirected, where visibility of productivity is rewarded and demonstrable outcomes demanded. To work against this and to resist access to everything, everywhere, all at once, has become a radical position.

It was in response to this and relinquishing predetermined outcomes, that Carlon went outside with a sketchbook. The expectations and desires were simple: sit, look, draw, sit, look, draw. Repetition as method. What she found was that sustained attention without an agenda produces its own challenges. The internal monologue of judgement and outcome arrived before the looking had finished. Holding still, it turned out, required practice.“ Extract from accompanying essay by Isaac Simon

1. Zoë Carlon, Violas, 2026. Oil on aluminium, 35.5 x 28 cm
2. Installation View
3. Installation View
4. Zoë Carlon, Hollyhocks I, 2026. Oil monotype, 62.2 x 46.8 cm (framed)
5. (Detail) Zoë Carlon, Hollyhocks 1, 2026
6. (Detail) Zoë Carlon, Sketchbooks and Drawings, 2026. Oil, graphite, ink, charcoal, dimensions variable

@ruthincrafts @annfionajones @zecarlon

Photos by Dewi Lloyd by @southparade_