09.12 - 18.12.11
Open by appointment



04.11 - 26.11.11
On the 19th and 26th at 14.00 o'clock a round-table discussion will be organized
TeTo Projetcs will be closed on the 12th

In 1634 Cardinal Richelieu defined the prime meridian to be based at the island of Ferro, the westernmost of the Canary Islands. It should be noted that this wasn't the only prime meridian in existence – as the Prime Meridian is ultimately arbitrary - A Matter of Convention - a national or even personal perspective.If you based your travels on Spanish maps and coordinates, your prime-meridian was located in Madrid. If Dutch – Antwerp was your choice. Italian? Then Pisa was your port of call. But by doing this, Richelieu clinged on to an age-old tradition that the zero-point – the point from which you count all the longitudes – should be located at the World's End, the point where the known world ended and the Great Unknown began. And just as with Prime Meridians, the world  have seen its due share of World's Ends. As expected, it started with the Romans, dividing their world into the Roman Empire and beyond. With the expansion of borders and the knowledge that followed, locations once deemed to be the World's End were suddenly embedded in the midst of a growing empire. In the wake of empirically proven knowledge mankind expand their borders and new World's Ends are constantly defined. With the dawn and development of printing, all this knowledge could suddenly be collected, documented and compared in a limited space. At the end of the 17th century, all knowledge known to man could suddenly be stored within the confinements of four walls. The collected and diversified theories could all be compared and reached from an arm's length distance from each other. Thus, the correlation between empirically proven knowledge and how we define and choose to perceive the world can be said to have gone hand in hand for ages. Well. Until now, that is. At this point in time, we believe that we know facts about, and have an understanding of, the world. Information have never been so abundant, and never so easily accessible as it is now. Yet this isn't a worldview based on lived experiences; but a worldview based on more-or-less trustworthy second-hand information. A theoretical space; a constructed perspective built on the foundation of other people's representations. Yet - just as with the Prime Meridian - the perspective from which you choose to view the world is ultimately arbitrary; A Matter of Convention.


10.06 - 02.07.11

This project combines research into aberrations of matter and memory. Kati Kärki will be presenting new works specifically made for the space of Teto Projects alongside video and sound pieces by Hanne Lippard. A series of events will follow every friday for a month time to bring in a variety of thoughts on the subject by other thinkers and makers. Somehow scientific, the title Aberrations extracts a sensibility from the works of Kärki and Lippard optical aberrations of geometric, chromatic and defocused natures, - terms all derivative of phenomena in physics. In the video piece "Skyggen" Lippard  evokes several definitions of the word aberrations, a dynamic and fluctuating series of moving images. It seems to embody all of these oddities, - as one can observe the potential distorting effects of a lens, or the separation of colour into its constituent wavelengths. Much about, and exploring of light, the work is poetic and offers no disclosure, - a mysterious lingering occurrence or entity. Likewise, in another piece of Kärki, we see the same refusal of any explicit content. Two slide projections, super-imposed at adjacent angles build a third image, a puzzling axis, in effect creating a tear or defect. The image proposes an abnormality, whilst remaining in the ideal world of the geometric and abstract. The result is both partially scientific and poetic reflection, - the creation of a reflective space to entertain a plethora of possibilities. Amongst other pieces, Kärki presents a collection of frames, items bound by both aesthetic and functional properties. In an analytical perspective, the frames appear as an entourage, and eventually in the light of 'aberration' a genus or species of sort, a collection which displays diversity by means of difference. Aberration is in this way explored as a deviation from a norm, or the proximity from an original blueprint for what an object should be. This thematics further resonates in Lippard's spoken word piece "Lostisms" which alters the meaning of the word 'lost' through a variation of context and repetition. It is in this capacity the works of both artists seek to remain open ended and non-conclusive, rather as proposals for further reflection.

Kati Kärki was born in Finland, she studied Fine Art in the Gerrit Rietveld Academie and now holds residence in Amsterdam. Her explorations in art have taken her through a combination of media, - from photography and printmaking, to sculptural furniture, writing and spoken word. Also she arranges discursive events that manifest in social gatherings, providing intimate settings for discussions about and around art. Her investigations in her visual practice can be described as an obsession with light, time and space and the human minds’ reflections about them. She is questioning how looking and perception constitute in giving meaning and providing form to the mental and physical space we are living in. Her work places itself between the lines of conceptual thinking and visual tactility, using different methods to create conditions for ephemeral things to be brought to more palpable form.

Hanne Lippard was born in England, raised in Norway, and after having lived in Sweden, Denmark and Holland, she currently resides in Berlin. She holds a degree in Graphic Design, but her work is conveyed through many other disciplines, such as writing, film, audio and performance. In order to connect this widespread variety of elements in her work, she always maintains one position— that of the narrator. The narrator always tries to give voice to its subject. Taking the statement literally, the use of sound has in the recent years become one of her main means of expression. The use of her own voice becomes a way of personalising language, and placed in a spatial setting it creates an omnipresence differing from that found within written language. Her way of combining text with image stems from her background in Graphic Design, but the use of sound instead of ink breaks with the linearity and the tactility of the printed matter. It could therefore be described as audible typography.




He is not asking for directions. There is no invitation for communication. There is a call for attention, but he is not calling for assembly. He doesn’t seem to want to be addressed. He has difficulty walking and he seems a bit constraint in his movements. He carries a map in his hands, but isn’t going in any specific direction. His motivations remain unclear. 


1987, Rotterdam I NL

2010-2012 Piet Zwart Instituut, Rotterdam
2005-2010 Rietveld Academie, Amsterdam


2011 I WANT TO BELIEVE, Wolfart projectspaces, Rotterdam
2010 Final Works 2010, Graduation Show, Gerrit Rietveld Academie, Amsterdam



Apartment, Text #3
(mist, sun slightly shinning through)

The colour of the sky is totally white and even, and the apartment has a quietness about it, not from the lack of sounds but from the tone of colour. In one of the two white rooms a thick white opaque curtain covers the windows and the electrical light is on. The light gives the room a glow, despite the curtain in the room has a greenish haze, which shines into the room and mixes with the colour from the light bulb. In one spot between the curtain and the wall the light from outside comes in through this slim split and gives the wall a green-white colour. It is a pale and almost sick green, but can also be looked upon as a watery pistachio green colour. In the apartment you only find this particular colour next to that curtain. The most defiant shadows in the room are in the places where the light bulb light does not reach. In these shadows the colour is a thin light blue that amplifies when looked for a longer moment. The daylight enters with dim, slow and white colour filling the room. This room has a lot of peculiar white colours, but it makes no difference because the layer of unsharp dimness makes it all very soft and impossible to focus on any detail. The thin curtains covering the three big windows seem to hold a wash of aqueous calcium which also helps to give the room its milky atmosphere that smooths out everything and covers it with a hypnotizing laziness.  



Marble cake/continuities1; cake on the table with white table
cloth, 150x120x100 cm

Chair/continuities 2; colour pencils on paper, 120x155 cm

I think we have something in common /continuities 3; 
16 drawings, pencil on paper, 21x29cm

Apartment text 1,2,3/continuities 4; Shuffling texts shown via overhead projector 


2005-2008 Gerrit Rietveld Academie, Amsterdam, NL
2003-2005 Billedskolen of Bjørn Bråten, Copenhagen, Denmark

2010 KE10, Copenhagen, Denmark
2010 Welcome Home, site-specific installation, San Francisco, USA
2010 The Family Show, Outpost, Amsterdam, NL
2009 Construction Work, Alicja Bielawska; Barbara Amalie Skovmand Thomsen, Art'NPublic, Amsterdam, NL
2009 Graduation Show, Gerrit Rietveld Academie, Amsterdam, NL
2009 Evil In The Old Church, Oude Kerk, Amsterdam, NL
2008 You Are Invited, De Service garage, Amsterdam, NL

2010 Ice Cream Moment, simultaneously in 11 capitals in Europe
2010 Like My Mum, Outpost, Amsterdam, NL
2009 Disco Queen, Oude Kerk, Amsterdam, NL
2008 Star Shots, The Heroines: Frédérique Olthuis; Susan Lanting, Winston Kingdom, Amsterdam, NL
2008 The Heroines A Long Time Ago... The Heroines, Sugar Factory, Amsterdam, NL
2008 She's My Heroine,The Heroines, Roode Bioscoop, Amsterdam, NL
2007 Sound Carpet, Alicja Bielawska; Kunji Baerwald, Stedelijk Museum, Amsterdam, NL

2010 The Heroines Present Flesch Records, micro commercial, The Heroines, Amsterdam, NL
2010 Rainy Holidays, music video for the band Little Red Suitcase, Ayako Nishibori, Amsterdam, NL


11.02.2011  6-9 pm

A space, filled. A performative act of installation to amplify and document a void as it is being manipulated by material and immaterial objects by the artist and the public.


14.01 - 05.02.11

Imaginary conversation between two people on earth:

Are you hiding?
  No, I’m continuously disappearing.
Do you go somewhere else when you disappear?
Where is ‘Everywhere’?
   Nowhere in particular.
What is it like in ‘Everywhere’?
   Like here.
Then why do you go?
   I don’t know.

Justin Gosker, inspired by the work of Silvia Ulloa Marquez.












1978, Madrid | Spain  

2005-2010 Gerrit Rietveld Academie, Fine Arts  
1996-2004 Universidad Complutense. Madrid, Law   

2010 Artots. Den Bosch, ‘ I want to be like you’
2010 Gerrit Rietveld Academie, ‘Eindexaam show’
2008 Huisrechts. Amsterdam, ‘Try outs’
2008 Kunsteyssen. Alkmaar, ‘Space forms                    
2007 Hotel Maria Kapel, Hoorn

2008 Intensive Course. Amsterdam, SNDO, Theater school
2007 Performance-video. Hoorn, Hotel Maria Kapel