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.