Fabienne Immoos exhibits at the Sankturbanhof Museum in Sursee

Sanktorbahnhof Source

Fabienne Immoos brings quirky closet dreams to the artistic plume

Young Lucerne artist Fabienne Immoos balances Sankturbanhof’s quirky locker rooms with her conceptual artwork. The exhibition opened on Friday evening.

Artist Fabian Imus (left) and curator Barbara Ruff on display.

Photo: Manuela Jan Koch (Source, July 1, 2022)

The crooked walls, crooked corners, and sloping floors are found in the historic locker rooms at Sankturbanhof in Sursee. And there’s Fabian Imus, the Lucerne artist, who occupies these spaces. She deals with the given and brings the spaces into symbiosis with her conceptual artwork. By doing so, you are merging one into the other, bringing them together and creating a new, cohesive and amazing whole.

There are four rooms that have been “worked on” or interpreted by Immoos in a reserved, respectful and modest way. It became clear on Friday evening in the vernissage: the exhibition “In the Cabinet: Fabienne Immoos” requires visitors to time for reflection and attention. “Involvement” is the order of the day.

This was also confirmed by curator Barbara Ruff and artist in attendance, who guided visitors through “The Closet”. Another conclusion: the exhibition leaves room for a variety of interpretations. It gives plenty of reasons to philosophize and reflect on the occasional.

In the beginning there were the leaning walls

No, it wasn’t the word “in the beginning”. At first there were the aforementioned crooked walls, crooked corners, but the “word,” the language has a prominent meaning in the work of the 33-year-old from Lucerne. The title of the work is also key to understanding it. Corridors of Future Memory is the name of the first work. Visitors are welcome at the start of the landing.

Unlike the following three works, this site was not specifically created; Instead, Amos says, it’s located in a “box in the studio.” On an A5 sheet, the artist examines “possible empirical arrangements of two-dimensional lines in space”. The meticulous sequential action occupies a “order-free” space and creates, among other things, an astonishing play of light and shadow.

“Mission Impossible” appears, and therefore there is no “solution” in the installation of the video, “I kept searching for its origin.” There is a rectangular glass plate from which a black square moves inside a glossy projection surface. Reality and fantasy meet. The work was adapted to the spatial situation of the site. The identical squares of the glass panel and shade take on the exact size of the room’s individual window panels.

Photo: Manuela Jan Koch (Source, July 1, 2022)

The artist has a “great love for space”

An eye, as well as an attentive ear is required in the video work “Scanning the Room”. A black screen on the floor mirrors the floor plan of this white locker room. The video work is very brief. It is enriched by fragmented ideas, snippets of words, references to places. And no, the sound the ear receives isn’t just noise, but Fabienne Immoos intentionally included the “inner acoustic workings” of the room. He who has ears to hear can hear it.

There is still a thin glass block in the corridor. In its simplicity, it shows an attentive approach, the artist’s “engagement” with the conditions in the historical rooms. “Tower, moat, basin” are terms used by the curator and artist for this space and installation. Also “mahalla” and “memory”.

Finally, one floor below is the former grain stream. The actress did not miss this. “Space” – Immoos was used specifically with this word. “Yes, I have a great love for space,” she says. In this way, the exhibition is also an ‘ode to the spaces on site’.

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