03.12 - 18.12.10



23.10 - 13.11.10

The air contained in a room takes all the available space. Although unable to resist deformation, it still is a substance that yields force. How do we perceive its kinetics?


Wind Tunnel, 2010


27.07.85 | The Netherlands
2008-now University of Amsterdam – Bachelor Earth sciences
2004-2010 Gerrit Rietveld Academie Amsterdam – Bachelor of fine arts
2010 Graduation Show, Gerrit Rietveld Academie, Amsterdam
2008 Roode bioscoop, performance, Amsterdam
2007 Tomorrow is shown today, screening, Amsterdam
2004 Kunstbende, performance, Helmond/Utrecht


08.10.10 at 19 pm

Book launch invitation

Name of the book: Mountains grow unnoticed
Artist: Alicja Bielawska (PL)
Graphic Designer: Sarai de Haan (NL)

This book is a cooperation work between artist Alicja Bielawska and Graphic designer Sarai de Haan. It started as a response on the exhibition of drawings of Alicja at the Teto project space this year. Next to the book design Sarai made silk-screen prints based on the drawings of Alicja.

Alicja Bielawska was born in 1980, lives and works in Amsterdam. She graduated from the Gerrit Rietveld Academie in 2009, participated in the European Exchange Academy, Beelitz (Germany) and in the exchange program at Central St. Martins, London (U.K). She creates sculptures and drawings.

Sarai de Haan was born in 1987, lives and works in Amsterdam. She graduated from the Gerrit Rietveld Academie in 2009 at the department of Graphic Design. She designs and writes books and creates prints.


07.05 - 03.07.10
Jasper Coppes, 1983 NL  |  Chris Holloran, 1987 UK  |  Harry Meadley, 1987 UK
Iona Smith, 1985 UK  |  Barbara Amalie Skovmand Thomsen, 1980 DK
and Dani
ël Dennis de Wit, 1982 NL
Curated by Alex Farrar


‘Demob Happy’ is a military term that describes the demobilisation of armed forces, and its effect on the behaviour of soldiers facing imminent release from combat-ready status.

Sudden redundancy notoriously leads to unpredictable and potentially dangerous behaviour, as a large body of people lose their prescribed motivations, regain their individuality, and/ or look for alternative purpose and direction. (The Great Wall of China being a well known solution to military unrest.)

Taken literally, Demob Happy could be used analogously to define the climate of post-history artists are arguably operating in. United under the umbrella of 'Contemporary Art', the historical anchors last dropped optimistically in the 80's (under such auspices as neo-conceptual art) are seemingly inappropriate, even blinkered in the plurality of the globalised art world.

Demob Happy takes the current multiplicity of artistic production as it's subject- not as the chaotic 'end of art', foretold by Baudrillard, or the threat that it poses to serious art discourse, but as legitimating individual structures of art making. Mobilising themselves through complex artistic practices, demob happy artists dig their own trenches, record their own histories and construct an idiolectical framework with which to situate their work independently from overarching cultural concerns.

Grabbing them at the crest of their careers, manifesting the excitable tension of soldiers facing personal choices, the artists chosen are spontaneous, optimistic, opportunistic makers. By simultaneously showing six responses to the intimate space, running contrary to the concentration of previous Teto Projects, the resulting exhibition will be a rowdy but purposeful conglomeration of works.

  Barbara Thomsen, Sugar Sun Honey Moon/Pt. 1 'Heart at Home' 2010  

Chris Holloran, Fancy Dress 2009 

Daniël Dennis de Wit, Synchronicity 2010

Harry Meadley, Contraband (3 of 24) 2010

 Iona Smith, Volcano 2010

 Jasper Coppes, Untitled (settlement) 2010

Trial Run for a Thriller is a playful parody of the wide-ranging thriller genre. At the core of this locational work is the notion of place and our physical and psychological relation to it.

For two weeks TeTo Projects' rooms are turned into a haunted house where ghosts can be heard and glimpsed.
In the chill ambience of the cavernous space an unassuming monitor sits on a plinth. Under the tv set a live infrared camera scans and picks up whatever activity may be taking place within its scope of surveillance. Henrique César uses monitoring techniques in order to make manifest the mental and emotional states inhabiting specific locations.

The infrared video camera shows you hot and cold. It assigns black to the coolest temperatures in an image, white to the hottest, and graduating shades of gray in between. 

As soon as the visitor steps in the closed-circuit installation they are broadcasted as zombi-like. On the screen their eyes appear as fluorescent as those reflective dots hanging from the ceiling and fixed on the back wall. Within the monitor box our bright eyes float supernaturally, indiscernible from all the luminous piercing pairs of dots. The tv device also functions as an aural object that emits a mutant sonic wave due to the camera's censor sensibility to body temperature and movement.

Immersed in a poltergeistian atmosphere one is mesmerized by the uncanny feeling of psychasthenia. In his essay "Mimicry and Legendary Psychasthenia" the surrealist author Roger Caillois points to a disruption in the relationship between personality and environment which leads to a process of depersonalization by assimilation to space.

Waking further we end up in the next room where a dramatic light is employed. Here the ceiling's lamp flutters rapidly and a saturated red light leaks through the slits between the bare floorboards conjuring a spectral air. The closer one comes to the glowing spots the more audible is the improvised dialogue between two ghosts. The visitor is put in a state of constant expectation and quiet suspense.

Articulated as interventions of apparent and hidden architectural elements César's actions simultaneously activate and destabilize the given surrounding. Trial Run for a Thriller is a interactive montage in the way the audible, visual and physical effects are generated from the conditions of the site and in the relation to the presence of the public.


23.05.1987 | São Paulo, Brazil

2008 FAAP,  São Paulo

2010  Exit, exhibition in transit, MARTE - Museo de Arte de El Salvador
2009  Coleções 9, Luisa Strina Gallery
2008  Anarcademia, 28th
São Paulo Biennial.
2010  W139, Blinded Tourist Residency
2009  Casa Tomada.
2009  RAPACES.


05.03 - 27.03.10

Lot is an artist and this is the next step: It is a play about the setting.
Wood, concrete and the concept are based upon.... The artist builds in this play, everybody is part of a (the) play.

Xxxxx is a play about....., objects referring to…., combination of sound, speech, words, images, objects, constructions, movements, (play).

Everything will be catalogued and can be traced.

Like in her earlier work she uses various techniques, everything has a role but….


A play by Lot Meijers
World premiere March 5th 2010

Location …….Amsterdam

A short play for my friends is a performance in which sound, speech, words, images, objects, constructions, movements (play) are combined. The venue is an apartment accidently somewhere in Amsterdam but could be anywhere.

Text written by Hay Meijers (Father)
Photo by Floor Meijers


Lot Meijers| The Netherlands
* 24.12.81

Jan Evertsenstraat 117-3 | 1057 BT Amsterdam | NL
Phone: +31 (0)6 198 125 96 | Mail:

2005-2009 Gerrit Rietveld Academie Amsterdam, Bachelof Fine Arts
2007 European Exchange Academy, Beelitz-Heilstatten,Germany


2009 Final Show, Gerrit Rietveld Academie, Amsterdam
2009 Lost and Found (22 mei), Amsterdam, performance/screening
2008 Evil in the Old Church, Oude Kerk Amsterdam
2008 Memorandum, Amsterdam
2008 Extrapool, Nijmegen
2008 You Are Invited, De Service Garage, Amsterdam
2007 Works on Paper, Chicofritos, New York
2007 Scene Change, EEA, Beelitz-Heilstätten Germany
2007 Ecrire Automatique, Wash-o-Matic, Amsterdam


 Thursday 25th and friday 26th of february




29.01 - 20.02.10

Untitled, 2009. Pencil and oil pastel on paper. 42 x 59,9 cm


Alicja Bielawska’s drawings formulate and alter our perception of the private space we build around us. It motivates the viewer to re-examine the signs of one’s way to perceive space by means of drawings.
Three main subjects that could be recognized in her drawings are objects which recall a table, a tower and mountain like structures. The artist is intrigued by the construction of private space. She plays with the fact that our perception is often not in agreement with reality in terms of dimensions and scales.
In her drawings you can see that there is something about the elements and forms, they construct a world. It provides a shelter. This shelter can be hidden behind something, blocked by something or left open. The constructions provide an ‘inside’ but also have an ‘outside’ element; the mountain landscape, which is solid and monumental. It introduces the organic form into the constructed world. Organic and abstract shapes coexist in different configurations.
Reciprocity can be seen between the use of pencil, the direct but fragile strokes and the use of chalk, which gives the surface texture and depth.
In some of her drawings lines run from the constructions into space. But this is not an infinite space. The lines create a surrounding in which we can relate to the constructions.
Leonie Walstijn 

Untitled, 2009. Pencil, color pencil on paper. 41,5 x 59 cm

Untitled, 2008. Pencil on paper. 29,5 x 41,5 cm

Untitled, 2009. Pencil on paper. 49,5 x 65 cm


1980, Warsaw | Poland
Based in Amsterdam | The Netherlands

2005 - 2009 B.A. in Fine Arts, Gerrit Rietveld Academie, Amsterdam
2008 exchange program B.A. in Fine Arts, Central St. Martins, London, United Kingdom
1999 - 2005 M.A. in Art History, Warsaw University, Poland

2009 Nomination Fine Arts Department Prize, Gerrit Rietveld Academie, Amsterdam

Group exhibitions
2009 Construction work with Ulla Eriksen and Barbara Amalie Skovmand Thomsen, Art'NPublic, Amsterdam
2009 Graduation Show, Gerrit Rietveld Academie, Amsterdam
2009 Evil in the Old Church, Oude Kerk, Amsterdam
2008 The Battle Of Art. Dialogue Of Culture, European Exchange Academy, Beelitz, Germany
2008 Space Forms, Kunsteyssen, Alkmaar

2007 Sound Carpet with Ulla Eriksen and Kunji Baerwald, Stedelijk Museum, Amsterdam

Eighty drawings between each other, Gerrit Rietveld Academie, Amsterdam 2009
Miejsca/Places, Gerrit Rietveld Academie, Amsterdam 2009
Memory of Spaces, Gerrit Rietveld Academie, Amsterdam 2009
Mechanisms of Forgetting. Polish-German Conference, Dresden 2006
Poems and Drawings, Pokaz Gallery, Warsaw 2003