Tim Rollins and K.O.S.
THE TIME MACHINE
6 September - 12 October 2013
Xavier Hufkens is pleased to announce an exhibition of new work by
American artists Tim Rollins and K.O.S.
Tim Rollins (b. 1955, Pittsfield, Maine) began teaching art in a South
Bronx public school in 1981. His lessons incorporated creative work with
reading and writing lessons for educationally disadvantaged or emotionally
‘at risk’ students. Rollins told his class on that first day, ‘today we are going to
make art, but we are also going to make history’. When asked what he meant
by ‘making history’, Rollins said: ‘To dare to make history when you are young,
when you are a minority, when you are working, or non-working class, when
you are voiceless in society, takes courage. Where we came from, just surviving
is 'making history'. So many others, in the same situations, have not survived,
physically, psychologically, spiritually, or socially. We were making our own
history. We weren’t going to accept history as something given to us.’
In a process they called ‘ jammin’, Rollins or one of the students read aloud
from a selected text while the other members drew, relating the stories to their
own experiences. Tim Rollins and K.O.S. (Kids of Survival) began producing
works of art directly on the pages of these books, which they cut out and
placed on a canvas in a grid – a technique that developed into a unique artistic
signature. Thirty-one years later, works by K.O.S. members can be found in
the permanent collections of over ninety-five museums worldwide. Tim Rollins
and K.O.S. continue to conduct art workshops with young people and to
produce collaborative works in the form of drawings, photographs, sculptural
objects and paintings on canvas and paper.
For their second exhibition at the Xavier Hufkens gallery, Tim Rollins
and K.O.S. focus on eighteenth- and nineteenth-century Europe. Taking the
notion of time travel as their starting point, the K.O.S. journey back to the year
1837 and meet Charles Darwin just as he is beginning to sketch out his idea
of a ‘tree of life’. Darwin developed his powerful drawing into the theory of
evolution published as On the Origin of Species in 1859. This seminal work gave
rise to a more realistic theory of life and brought Romanticism, and the search
for creative inspiration in nature, to an end. The Time Machine series, on the
other hand, is named after the science fiction novella by H.G. Wells. Published
in the same year as On the Origin of Species, the book is widely credited as having
popularised the idea of time travel by using a machine that enables the operator
to move purposefully and selectively through different eras, including the future.
Wells used The Time Machine to introduce the concept of a fourth dimension
existing alongside the three dimensions of space: length, width and depth.
Another definition for the fourth dimension, however, is the act of perceiving
(consciousness) or feeling (sensation). Artists and writers often think of the
fourth dimension as the life of the mind. Tim Rollins and K.O.S declare: ‘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.’
A related series of works explores the music of Franz Joseph Haydn and
Felix Mendelssohn: perhaps two of the greatest composers of the Romantic
era. Songs Without Words (after Mendelssohn) takes its title from a series of
short lyrical piano pieces written by Felix Mendelssohn. The composer was the
grandson of Moses Mendelssohn, the celebrated philosopher who developed
the theory of the sublime in art, and also the varied notions of immensity. In
The Seven Last Words of Christ, K.O.S. re-imagines the first performance of
Haydn’s identically titled orchestral meditation. Inspired by the seven short
phrases uttered by Jesus on the cross, his work was commissioned for the Good
Friday service at Cádiz Cathedral, Spain. Of the first performance in 1786
Haydn wrote: ‘the walls, windows, and pillars of the church were hung with black cloth, and only one large lamp hanging from the centre of the roof broke the solemn darkness.’ This atmosphere is echoed in the black spinel pigment that is painted over the musical score.
The end result of the group’s meanderings through history is a unique dialogue between literature and music, science, art, the past and the future – one that touches, both literally and figuratively, upon tragedy and hope, destruction and Transformation.
