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Esther Teichmann

@estherteichmann

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MRes Head of Programme
Royal College of Art, London

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TO HOLD YOU IN DARKNESS @kv.hall CURATED BY NATASCHA HÄUTLE Thank you to the amazing team who made it the most joyous experience - a true collective! And thank you @danielcblight for your beautiful essay, Of Water and Triangles, … Before and after storms clouds are painted turquoise, Prussian blue, ferrous purple. Pointing in the direction of straggling wetland forest, a skeletal wooden boat holds a sail of clouds. This water-bound Arius, the title of a work in canvas, ink, acrylic, wood and sponge, is also the namesake of a bearded, robed presbyter from the 4th century AD. In a gallery setting Arius is at once ersatz boat, photograph and religious persona. Arius, a Christian man of Berber origin, rejected the idea that Jesus was consubstantial with God, considering him merely of this world. And so, a relationship is drawn between the heavens and the earth in Arius the work, asking its viewer to consider what this boat is, where it might be sailing to and for what purpose. Is this shell of a hull even capable of floating down the Rhine as it flows into Rappenwört adjacent to Karlsruhe? – where the artist was born, soon after began river-boating with her family through slow forests, years later returning to make work in the area.
Esther Teichmann’s working method might be understood as what the artist and writer John Danvers calls ‘divergent’ art practice; a form of research in which making is receptive to experimentation, unfamiliar territory and new ideas...
… Rivers wash the ruined carcasses of boats downstream and are at the same time moving channels that suggest a certain freedom, or the hope that one might find it. In her study of Martin Heidegger’s work on Hölderlin’s poetry, the
Hungarian philosopher Véronique Fóti notes ‘freedom, which Hölderlin assimilated to the boundless; […] at the same time, is the symbol of free poetic commemoration that lies in ruins.’ In its relationship to bodily subjectivities, Teichmann’s work might be seen to ask the questions, who gets to remain free? … taken in Kunstverein Schwäbisch Hall e. V. Kunstgalerie by @estherteichmann

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✨ Herzliche Einladung zur Ausstellungseröffnung am Samstag, 26. September 2026 um 18 Uhr ✨

Esther Teichmann
To Hold You in Darkness

Begrüßung: Sonja Klee, Vorsitzende
Einführung: Artist Talk
@estherteichmann im Gespräch mit Natascha Häutle, Kulturwissenschaftlerin

Wir freuen uns auf euch! Wie immer gilt: spread the word and bring friends! by @estherteichmann

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by @estherteichmann

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15 days ago

🌑🌑Photo London this week Wednesday - Sunday - Flowers Gallery Booth E02. 🌑🌑 by @estherteichmann

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5 months ago

World of Echo review of this incredible album (already sold out but you can buy the download!) I’m so honoured to be a visual part of. The Dengie Hundred’s collaboration with @gemmablackshaw, together on record for the second time with Days In Pieces, seems to be increasingly ushering itself closer to the light, offering here a new found sense of melody and performance not especially prevalent on previous outings. All things being relative of course - Days In Pieces continues to display the hallmark aesthetics of sunken electronics, liminal spaces and tape spool hauntings that characterised the Lammas Land LP and Tube cassette, while also pushing the project into wider frames of reference. Coil, particularly in their Time Machines and ELpH guises, remain a guiding influence, though now their are also traces of European minimal wave and post-industrial angst, and even the sensual blue light atmospherics of trip hop and, by association, perhaps even a group like Bark Psychosis. A good part of this can be attributed to Blackshaw’s growing confidence as a vocalist, her Delphic vocals a combination of poetic rumination and dreamy glossolalia. The lyrics aren’t always easy to discern, though when they are clear appear to fixate on feelings of longing and loss, dependency and desire, made all the more impactful as Blackshaw drifts into wordless, ecstatic purring. The Dengie Hundred are a far from extrovert proposition, though there is something distinctly more open and inviting at play here, no longer seemingly positioned in the depths of night but instead the velvet glow of the dawn, as if a weight released, a moment shared and a truth understood. A very intimate record charged with private, experimental impulses and confessions that somehow feels like their most accessible work to date - all things considered, quite the achievement. by @estherteichmann

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🌑Can’t wait to see this exhibition (and incredible book!) curated by Jess Barker and Ed Krčma, opening on Friday including many of my favourite artists (and my very favourite person @rehearsalfortheendoftheworld) 🌑. Living by the Rule: Contemporary meets Medieval reflects on the ‘rules’ that we live by today. Exploring the idea of routine and regulation, the exhibition vividly presents the richness and complexity of the dialogue between medieval experiments in a different way to live, and modern reflections upon how life is (and might yet be) organised.

Taking as its starting point the Rule of St Benedict, a deeply influential guide for communal living written in the 6th century, the exhibition brings together extraordinary objects from medieval monastic contexts with a fascinating selection of contemporary artworks. Medieval loans include the Hatton Codex, the earliest copy of the Rule of St Benedict in the world (c.700 AD); the Etheldreda Panels, one of only a handful of English medieval paintings to have survived the Reformation; and the Gorleston, Ormesby and Macclesfield psalters, some of the most important illuminated manuscripts of the 14th century. These are put in dialogue with important works by a range of international contemporary artists.

The exhibition is curated by Dr Jessica Barker FSA, Senior Lecturer in Medieval Art History at The Courtauld and Dr Ed Krčma, Associate Professor of Art History at the University of East Anglia.

Featured contemporary artists:

Pavel Büchler
Andrea Büttner
Moyra Davey
Tacita Dean
Samuel Levi Jones
Vivienne Koorland
Susan Morris
Elizabeth Price
Ingrid Pollard
Lucy Skaer
Christopher Stewart
Alison Turnbull
Danh Vo
Richard Wright
Charlotte Zinsser by @estherteichmann

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Days in Pieces is the second collaborative album from The Dengie Hundred with Gemma Blackshaw.

It follows their debut Who Will You Love, which brought hushed vocals, recorded from home while children were sleeping, to looping, nocturnal beats, found sounds and spectral oscillations. The album was included in The Quietus albums of the year 2024.

Earlier this year the duo contributed to The Black Hill, The Glass Sky project, an exploration of Scottish myth, folklore and landscape curated by Glasgow label Somewhere Press. Their contribution Aviir garnered praise from Mary Anne Hobbs on her Radio 6 show and evolved into a sister release Songs for Isserley, described by Boomkat as “ravishing and terrifying”.

Like their debut album, the songs on Days in Pieces ruminate on romantic love, but the words recorded alone at Blackshaw’s home by the sea are sharper and spikier, her voice coming further forward in the mix. The demands and disenchantments of relationships between lovers are balanced with Blackshaw’s spellbound address to her son, who she remembers holding in her arms above the waves in the album’s closing lullaby. Love is lunar here, pulling its objects towards itself, including those of grown men who find themselves returned to bedtime stories as weeping children, their tears pooling like Alice’s to form other, infinitely smaller seas.

Days in Pieces, available now via Tain Records and selected stores.

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Mastered by Carim Clasmann
Mastered & Cut by Stefan Betke (aka Pole)
Artwork by Esther Teichmann
Design by Mark Thomson
Sleeve Notes by Alice Butler
Released by Tain Records by @estherteichmann

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Our Photography in Pieces online lecture series finishes this week Wednesday evening, March 18, 6-7pm GMT with a very special event - all welcome! Zoom link in bio

✨✨LINDER ✨✨✨IN CONVERSATION WITH CURATOR KATRINA SCHWARZ @lindersterling @katrinaschwarz9

Linder is renowned for her photography, photomontage, and confrontational performance art which boldly deconstruct gender stereotypes, libidinous desires, and transgressive acts. An active figure in the punk and post-punk scenes of 1970s and 80s Manchester, where she formed the band Ludus in 1978, she gained early recognition with her photomontage for the Buzzcocks single ‘Orgasm Addict’ which combined material sourced from an Argos catalogue and a French erotic magazine. Her work has continued to sharpen its focus on striking, playful, and political juxtapositions through imagery taken from a wide range of printed matter including pornographic magazines, dance journals, as well as cookery and horticulture books. In these composite images, faces are hidden behind blooming roses and household appliances, penetrative acts are concealed by montaged objects, and nude figures emerge from behind kitchenware. In this sense, her works play with unconscious associations between normative beauty and aspirational living; products and bodies are brought together, resulting in a tension between revulsion and seduction. At other times, Linder uses her own body like a piece of paper: a site that can be incised to radical ends. She takes cues from the Berlin Dada artists of Weimar Germany, notably collagists Hannah Höch and John Heartfield, as well as Surrealists such as Ithell Colquhoun. A major figure in feminist art both in the UK and internally, for several decades Linder’s work has interrogated the commodification of consumer and sexual appetites and the perverse undercurrents of inherited norms and societal roles.
✨PHOTOGRAPHY IN PIECES
– COLLAGE, MONTAGE AND THE FRAGMENT WITHIN THE PHOTOGRAPHIC✨PROGRAMMED BY ESTHER TEICHMANN & CHRISTOPHER STEWART @rehearsalfortheendoftheworld thank you to our epic guests @xuguanyu @bindi_vora @aspenmays @_mattlipps_ @edmund_clark by @estherteichmann

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✨✨✨Very excited to launch the LCC Photography online talks series with Christopher Stewart, Photography in Pieces, tonight! 6pm GMT on Zoom ( dm me with your email for series info if you haven’t already). All welcome! Do share with friends, colleagues, students. We have a new additional talk closing the series .. LINDER @lindersterling in conversation with Whitechapel curator @katrinaschwarz9 Wed March 18th✨✨✨See you tonight for @xuguanyu ! ✨✨ by @estherteichmann

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When one of the artists you love the most asks you to be in a show about seaweed and all things watery … thank you @miriamaustin .. your magical works hold whole worlds and blow my mind every time. A day of Ely to Greenwich, swimming at Charlton Lido, art deco, medieval and gold at Eltham Palace and then on to.. seaweed, eels, sisters and pregnant bellies at .. *Alaria* 🌊 🐚🦪🌊
Miriam Austin, Eiko Soga, Esther Teichmann

exhibition runs until 24th May
Open to public Saturday 10am-4pm or by appointment.
Gerald Moore Gallery, Mottingham Ln, London, SE9 4RW

This exhibition brings together new work by Eiko Soga, Esther Teichmann, and Miriam Austin, each offering sensual and imaginative engagements with landscapes shaped by water: island, swamp, and fen. The succession of seasons, the growth of a foetus, the skin of an eel, the overhang of a branch, and the play of light on water – these are some of the gestures that bind the artworks together and might also tempt us away from the destructive binaries of human/nonhuman, natural/artificial.

The works in Alaria lead us into a brackish entanglement with the more-than-human and the hyper-natural. The title of the show refers to the genus of kelp that includes Alaria esculenta, widely eaten and also known as Atlantic Wakame, Badderlocks, or Láracha. Food, wetlands and bodies combine in sculpture, installation, photography and video by three artists concerned with the lived experience of the landscape, the body as a site of knowledge production. A concern with narrative leads us to reflect on the imaginative space of nature: how this can be a place of resistance in a time of extractive industry and the politics of exclusion – how listening, looking, tasting and feeling create kinship relations that trouble the human/nonhuman binary. taken in Gerald Moore Gallery by @estherteichmann

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✨ ✨ ✨

TICKETS VIA 🔗 IN BIO

Mythmaking and Visioning in Contemporary Art marks the last Public Programme accompanying the MA exhibition Archipelago: Visions in Orbit.

The artist and curator talk welcomes the exhibiting artist Esther Teichmann and two of the curators from the 2024 MA Cohort, Molly Clark, curator and performer and Cosima Straub, art historian and curator.

Mythmaking, as a form of storytelling, blurs the line between reality and the otherworldly, and is a concept which consistently recurs throughout the history of art – often as a means to make sense of the world and self.

Following a presentation of a new video work and a reading by Esther Teichmann, the talk will explore how myth(-making) manifests within Teichmann‘s practice, other artistic practices featured in Archipelago: Visions in Orbit, and beyond.

Supported by Whitechapel Gallery and London South Bank University (LSBU).

@_molly.c_
@cozycosima
@whitechapelgallery
@estherteichmann
@whitechapelgallery_macurating
@lsbu

📸: images courtesy of Whitechapel Gallery and Esther Teichmann.

✨ ✨ ✨ taken in Whitechapel Gallery by @estherteichmann

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