24/7

24/7 brings together new and recent works by three contemporary artists working within ASC Studios across London: Seungjo Jeong, Mizuki Tanahara, and Ania Tomaszewska-Nelson.

15 October – 26 October 2026
Private View: Thursday, 15 October | 6:00 PM – 9:00 PM
Opening Hours: Weekdays 10:00 AM – 5:00 PM | Saturdays (17 & 24 Oct) 12:00 PM – 5:00 PM
Location: Gallery 1, The Handbag Factory

Selected by judges Nicky Coutts and Danny Rolph as part of ASC’s 30th Anniversary Exhibition in 2025, the artists present distinct responses to the rhythms and frictions of contemporary existence.

Taking its title from Jonathan Crary’s seminal text 24/7: Late Capitalism and the End of Sleep, the exhibition examines the relentless drive of hyper-connected systems alongside the natural cycles that resist them.

Participating Artists

Mizuki Tanahara

Mizuki Tanahara directly engages with Crary’s ideas, manipulating digital indicators of time across installation and moving image to question how contemporary temporalities are measured, fragmented, and consumed. 

About

Mizuki Tanahara is a multimedia artist from Japan, currently based in London. After working in the internet advertising industry in Japan, she pursued graduate studies in media art, focusing on how technology transforms society and cities. She later moved to Berlin, where she developed research and artworks addressing internet privacy. In London, she completed an MA in Data Visualisation at the University of the Arts London, specialising in the visualisation of algorithms. Today, her practice spans video, installation, and computational media, investigating the intersections of technology, data, and urban culture. Link to her work here.

The Theme

Technology now allows us to work, consume and stay connected day and night, yet our bodies, and our need for sleep, have barely changed in tens of thousands of years. Even so, our lives are being forcibly reshaped to fit technology and the social systems around it. Rather than simply accepting this, my works invite viewers to notice the invisible technologies that have quietly slipped into everyday life.

Seungjo Jeong

Seungjo Jeong presents recent paintings of a CRT television, a VHS cassette, and an Amazon parcel locker, each keeping time differently. Together they trace the disappearance of the interval – the hours in which nothing was transmitted, nothing was playing, and nothing was due. Link to his work here.

About

Seungjo Jeong is an artist and researcher living and working in London, with a background in software engineering. He received a BFA (2015) from the School of the Art Institute of Chicago, USA, and an MA in Painting (2017) from the Royal College of Art, UK, where he also completed his PhD in Arts and Humanities (2025). He has exhibited in Bloomberg New Contemporaries at the ICA, London (2016), John Moores Painting Prize at the Walker Art Gallery, Liverpool (2018), and Contemporary British Painting Prize at Huddersfield Art Gallery, Huddersfield (2022). Link to his work here.

The Theme

In response to Jonathan Crary’s 24/7, I am showing paintings of a CRT television, a VHS cassette and an Amazon parcel locker, each keeping time in its own way. The television’s broadcast day once ran to an end each night, and colour bars filled the small hours while the transmitter behind them never rested. The cassette held two hours that could be recorded and shelved. Playing wears its magnetic tape, so it is consumed by being watched. The locker, built for non-stop operation, is given a human name and greets customers collecting their orders, while recording the exact minute each parcel is taken. Together they trace the disappearance of the interval. The locker’s screen, centrally staged in a fourth painting, becomes a backdrop: the surface that stays up when nothing is happening.

Ania Tomaszewska-Nelson

Ania Tomaszewska-Nelson offers an antithesis to this uninterrupted modernity. Her new film, The Creature, is housed within a purpose-built hunter’s tower crafted in Poland. Rooted in nature, her work channels elemental powers and natural cycles that stand outside the demands of continuous productivity. 

About

Ania Tomaszewska-Nelson is a multidisciplinary artist living and working in London. She studied painting at The Ruskin School of Art in Oxford. Predominantly working as a painter and a video maker, she often reaches for other mediums expanding her practice into land art, performance, photography and sound, always seeking a language best suited for the subject matter.

Such flexibility allows for political and philosophical content in her art and also echoes elements of everyday life. In the world on the verge of the environmental collapse, the artist returns to the old tradition of landscape painting. She creates images of dysfunctional, fluorescent landscapes, free of gravity, often free of life. She further looks at the difficult relationship between humans and their environment in her video pieces and explores the themes of identity, migration and the sense of belonging. In her latest film ‘The Creature’, the artist addresses issues of inequality between humans and animals and questions the exploitative character of our coexistence. Link to her work here.

The Theme

Neither my lifestyle nor my art practice fit into the 24/7 consumerist pattern. In search for the deep silence or the perfect darkness required for my videos, I travel away from cities and live out of reach of their 24/7 capitalist version of infinity.

For the ‘24/7’ exhibition, I’m showing ‘The Creature’, a piece based on a series of improvised performative behaviours recorded in different woodlands. My intention was to mimic animal interactions with the landscape, from observation and empathy. In this film, I address issues of inequality between humans and animals and the exploitative character of our coexistence.
For our exhibition, I built a tall Hunter’s Pulpit with a viewing platform, which will house my video, forcing the viewer to realise the power of surveillance and control over a free body.