Collective Members: Edith Flückiger, Germaine Koh, Chantal Molleur, Mireille Bourgeois
Coordination (Travel, Communications, Press Materials): IOTA and White Frame
Curation: Chantal Molleur and Mireille Bourgeois
Originally presented by Dalhousie Art Gallery and the Centre for Art Tapes in partnership with White Frame from the 18th October to the 30th of November, 2014 Edith Flückiger and Germaine Koh present conceptual artwork, made up of electronic installation, video and digital text pieces, in a conversation exploring mobility and balance. Edith Flückiger works to reach a place in time and space that is unknown to us, something that tries to find the space between here and there on a map; an unmarked site. These artists consider human presence or absence within their work: while Koh creates a space for the body to interact with the artwork, Flückiger shows the body seemingly lost in a nowhere land. One’s works do not knowingly create a space for the other’s, but they trigger a conversation, a dialogue between sites of the mind and state of the body.
This project stems from a short 10 day residency which served as an introductory meeting for the (im)mobile artists. The work Tracing Tracks, a mapping game for experiencing different spaces, was started during this residency, and premiered at the 2014 exhibition. The website still exists, ready for participation here: http://tracingtracks.com.
Co-coordinated by IOTA, this project was revisited and relaunched featuring new artworks by each artist, and a German-translated catalogue March 5th to May 15th, 2016, at the HAUS FÜR KUNST in URI, Altdorf, Switzerland.
The e-catalogue for the exhibition (im)mobile launched officially May 2nd, 2015, and is available (see below for download). Exhibition catalogue for the Dalhousie Art Gallery (Halifax, NS, Canada) (im)mobile exhibition, includes installation views, a curatorial essay by Mireille Bourgeois and Chantal Molleur, and a Forward by gallery director Peter Dhykuis. Guest writer Jonathan Shaughnessy (Associate Curator Contemporary Art, National Gallery of Canada) explores the work of Germaine Koh in his essay Germaine Koh: The Art World, Apps, and Everyday Life. Zurich-based Susann Wintsch (publisher, curator, lecturer and art critic) writes about Edith Flückiger’s work in her essay The Magnificence of Life. Catalogue designed by Sym Corrigan. The exhibition catalogue for the exhibition revamp at the Haus fur Kunst Uri (Uri, Aldorf, Switzerland) includes a Forward by gallery director Barbara Zürcher, images of the exhibition in situ including of five new artworks by the artists, and was translated in German. Both catalogue designed by Sym Corrigan of the Dalhousie Art Gallery.
Funding: This project was made possible thanks to financial support from the Mobiliar Genossenschaft, Casimir Eigensatz Stiftung, Dr. Georg und Josi Guggenheim Stiftung, Stadt Luzern FUKA-Fonds and the Canada Council for the Arts.