Liliane tomasko biography books
Liliane Tomasko in conversation with Phong H. Bui | The Brooklyn Rail, April 2023
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Aidan Dunne’s review Spell of the Wood: a midsummer’s-night dream | The Irish Times, 18 July 2022
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Raphy Sarkissian’s review of the exhibition ‘Evening Wind’ | Brooklyn Rail, June 2022
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Kate Sutton’s review of the monograph ‘we sleep where we fall’ | Bookforum, Dec/Jan/Feb 2021-2022
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Jens Asthoff’s review of the exhibition ‘we sleep where we fall’ | Artforum, Summer 2021
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David Carrier’s review of the exhibition, ‘we sleep where we fall’ | Brooklyn Rail, April 2021
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+ Biography
- 1998 · MA in Fine Arts, Royal Academy of Arts, London, UK
- 1995 · BA in Fine Arts, Chelsea College of Art & Design, London, Uk
- 1991-2 · Foundation Course, Camberwell College, London, UK
- 1967 · Born in Zurich, Switzerland
+ Artist's Statement
A dream of:
Into sleep we descend night after night - our bodies at rest as a part of us travels into the darkness of the altered state of consciousness that is sleep. Above, in the waking reality we play out our lives, acting out our respective stories in a physical universe we are apt at manipulating but nonetheless have very limited knowledge of.
In my body of work I have always explored, in one way or another, the domestic sphere, our immediate surroundings and in particular the bed, where we spend a large part of our lives. If our home is the interior to which we return everyday for respite from the outside world, sleeping and the dream realm are where we go to even deeper levels of ourselves. It is a kind of journey to our most intimate space, a descent into the storehouse of our memories, our hopes, fears and desires, and the accumulation of our ideas and beliefs.
In dreams, elements of reality come together to make constellations that would otherwise be unimaginable. We create new connections between things, space and time. There is a sense of exp
ARTIST MONOGRAPHS
MONOGRAPHS & CATALOGS |
Liliane Tomasko: We Sleep Where We Fall
Paintings 20002020
Published by Hatje Cantz.
This book follows the development of Swiss painter Liliane Tomasko (born 1967) over the past 20 years, from depictions of unmade beds, piles of clothes and other melancholy still lifes and interiors to the emergence of her abstract paintings.
PUBLISHER
Hatje Cantz
BOOK FORMAT
Hardcover, 9.5 x 11.5 in. / 268 pgs / 156 color.
PUBLISHING STATUS
Pub Date 8/31/2021
Active
DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2021 p. 180
PRODUCT DETAILS
ISBN 9783775750912FLAT40
List Price: $55.00 CAD $75.00
AVAILABILITY
In stock
Free Shipping UPS GROUND IN THE CONTINENTAL U.S. |
Liliane Tomasko
My father’s family name being Pirrip, and my Christian name Philip, my infant tongue could make of both names nothing longer or more explicit than Pip. So, I called myself Pip, and came to be called Pip.[1]
It’s a long story, so let’s start at the beginning—right here at the Douglas Hyde Gallery in Dublin, where I was invited a few months ago to work on a project for Gallery 2.
I was immediately drawn to the adjacent room to the right, as you face the end wall: a hold-all, a preparation and storage area separated by a door that sits flush within the wall, like an inset. It is present yet not present, unobtrusive.
The storage space is full, as you can imagine. It has within it all the tools necessary for the installation team, who help the artists that exhibit here, all the equipment that makes their ideas come alive. The room holds crates, boxes, tools, tapes, glasses, dishes, an iron, an espresso machine, and many other items useful for setting up the work, and eventually for celebrating the successful completion of a process that can take months to come into being.
I learned that Gallery 2 was itself repurposed from a former and much larger storage and preparation area. It seemed like the obvious thing to transport that which mostly lies in a darkened room into the brightness of the exhibition space, to move it from its current position of reduced visibility to center stage.
And so, the heroes of this story are the things that sit silently in the storage area, waiting to be active. They are the helpmeets, that make what first appears in our imagination become realities, that give body to our ideas. Not having agency by themselves they need the human hand to become active.
“Look at me,’ said Miss Havisham, ‘You are not afraid of a woman who has never seen the sun since you were born?’”[2]
I returned to a process that has been part of my practice for a long time: using photography as a starting point with which to develop t .