Here you can find writings about events and exhibitions in TPTP. In the future you will also find articles about individual artists.
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3. It Has Happened!


By Jasmine Soori-Arachi

TPTP’s December-show, It Has Happened, was a thought-provoking group exhibition which did not disappoint.
Subtle strains of classical music set the tone for the December 12th opening where visitors were invited to explore a compelling selection of contemporary photography by 19 international artists. The contributing artists were
 Lutz Baumann, Aline Biasutto, Daniel Holfeld, María-Alejandra Huicho, Sibyll Kalff, Scotty Lawrence and Andrew Scott Ross, Evi Lemberger, Anke Loh, Eduardo Goulart de Macedo, ´Chia´ Nurhamsiah, Vincenzo Pandolfi, Simona Da Pozzo, Valérie Prot, Anahita Razmi, Andrew Schroeder, Jordan Tate, Anjana K.V., and Keren Zaltz.
Unlike its predecessor Residue, this exhibition seemed to focus less on process and more on the power of the fully realized image to evoke other worlds than the strictly documentary.
The central question, then, was to what extent we could consider each photo to be an autonomous work instead of a direct reference to a real past, or a faithful reflection of reality.
On one end of the spectrum there was the highly textural and non-literal. In his work Untitled, Lutz Baumann investigated texture and volume, as well as the theme of absence. Using two orange diagonal lines made of tape which radiated from either side of the photograph, he firmly anchored his work in the realm of the abstract.
On the other end we saw Evi Lemberger’s Girl, Vari which examined fragmented cultural identity. Lemberger adopted the intensely personal perspective of the outsider as she showed us a gypsy girl proudly displaying her wedding dress. A member of the displaced and marginalized population of Transcarpathia, the nineteen year-old candidly shares the happiest day of her life with the viewer.
Next, in Love, Pinkie, Daniel Holfeld used photography to document the private identity of a very public leader. The photo of the late Benazir Bhutto’s intimate letters to her family presents the tangible remains of her private legacy.
Finally, in Sans Titre (Filature), Anahita Razmi reconstructed the observation photo of artist Sophie Calle viewing a painting in a gallery. By divesting the image of its original narrative, however, Razmi potently blurred the boundary between art and reality.
In conclusion, It Has Happened impressed and delighted visitors with its diverse response to the ontological question of the essence and limits of photography.


2. Residue of “Residue"

By Jasmine Soori-Arachi

For three weeks in November, I had the extraordinary luck to watch from the wings as the participating artists of Residue transformed the TPTP project space into a creative hub of experiment and expression.
The participating artists were: Ellen Burroughs, Martin Chanda, Anastasia Freygang, Lauren Moffatt, Bjoern Nussbaecher, Claudia Olendrowicz, Lucrecia Pittaro, Sidonie Zou-Zou Roberts, and Sandrine B. Skellie.There were guest contributions by the Amsterdam-based artist-group Public Space With A Roof, and London based Sparticus Chetwynd

With Residue, curators Amber Lauletta and Philip Tonda Heide gave visitors a privileged sneak-peek at various phases of the creative process. The exhibition celebrated the imperfect, the fragmentary, the suggestive, the-journey-not-the-destination, and championed the idea of work-in-progress.

Not surprisingly, perhaps, many artists explored the theme of perception, inviting us to view the world in an new way thanks to different lenses and filters.
Researching the scientific process of perception, Lauren Moffatt made a poetic and eerie video of tourists viewing the Mona Lisa in the Louvre. For this, she used two cameras to mimic the same process our eyes use when creating an image.
Björn Nussbächer’s Gypsy Kinetics played with perceptions of space and time and touched on the themes of migration, nomadism, and ancestry. His installation- which incorporated sketches, photos, and video framed in a rucksack- invited viewers to trace the journey he had charted both internally and geographically.
Finally, Claudia Olendrowicz’s vibrant and delicate work looked as if it were some beautiful bit of alien vegetation beamed down from above. It seemed as at home on the TPTP floor as it would have been integrated into the urban texture outside the gallery.
Sketchy, ephemeral, and experimental, at first, the artists’ interrogations culminated in a more crystallized form for the midissage on November 27th with some work being modified right before the opening.
Afterwards, several artists left taking their work with them and the space changed again. As the remaining artists repositioned, broke down and recreated, a physical residue was left behind in the form of bits of paper, crumpled tape, wall marks in pencil, a printed name.
What perhaps impacted me the most as a viewer, was the fascinating experience of unraveling layers in the process of creation. The fact that visitors were not confronted with a finished product but rather were invited to partake of a growing work in progress is precious, indeed.

1. Satsang with 

    Spartacus Chetwynd 

On the artist talk by Spartacus Chetwynd, TPTP Nov 20th, 2009 

By Jasmine Soori-Arachi

In Sanskrit, “Sat” can be defined as “Truth.” A Satsang is an assembly of people dedicated to discovering Truth.

Art-lovers seldom witness artists reflecting on their art. Though gallery visits turn us into sophisticated viewers, we are rarely allowed a peek inside the creative process. Friday evening’s talk with Spartacus Chetwynd is a refreshing exception. From the moment she donned her beer bottle-shaped “funglasses”, she took us along for an amazing ride. (Among the interesting anecdotes told: The transformation of her flat-share into a project space/gallery, and site for naked barbecues.)
To communicate the evolution of her performance work to the TPTP crowd, Spartacus dipped into her archive of newspaper clippings and photographs. She spoke openly about the pressures she and other artists face when represented by commercial interests. She also discussed the similarities and differences between showing in small-scale venues versus large public institutions like the Tate Modern. Her simple, yet powerful message to the artists in the audience: be true to thyself, believe in your process, embrace your vision.

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