The Flip Side of the Coin began with the two identities contained within Chemist Gallery itself: a commercial gallery and a domestic space existing within the same building. Rather than concealing this division, the project used it as its structure.
Invited artists were asked to inhabit both sides. The gallery became a space for the more resolved, public-facing aspects of their practices, while the domestic areas opened onto rehearsal, experimentation and work still in formation. The distinction was deliberately unstable. Performances crossed between rooms, audiences moved with them, and live-feed video connected spaces that could not always be seen at the same time.
There was no fixed sequence for the evening. Works overlapped, interrupted and occasionally interfered with one another, allowing improvisation, failure and unpredictability to become part of the event rather than problems to be eliminated. The resulting sense of flow and controlled chaos reflected something usually hidden by an exhibition: the uncertain and unfinished process through which artistic work is produced.
Following the performances, fragments of image, sound and objects remained in the gallery as traces of what had taken place.
Curated by Norman Mine
Participating artists: Analita Harding, Barney Pau, Dino Desica, Fiontán Bleau Moran, Gianna T, Hera Santos, Mart Summers, Natalie Price Haslund, Tamu Nkiwane and Rosa Doornenbal.
