Reconnaissance. 1997. Exposition, Dare-Dare, Montréal. Photo : Jean-André de Groot.

Reconnaissance. 1997. Installation (détail). Dare-Dare, Montréal. Photo : Jean-André de Groot.

De près. 1997. Installation vidéo. Dare-Dare, Montréal. Photo : Jean-André de Groot.

Collecte d'empreintes. 1998. Bibliothèque centrale de la Ville de Montréal. Photo : Jean-André de Groot.

Lectures. 1999. Centre des arts actuels Skol, Montréal. Photo : Jean-André de Groot.

Lectures. 1999. Centre des arts actuels Skol, Montréal. Photo : Guy L'Heureux.

Mémoire X99-Y04.25. 1999. Intervention. Place d'Youville, Montréal. Photo : Jean-André de Groot.

Mémoire X99-Y04.25. 1999. Intervention. Place d'Youville, Montréal. Photo : Jean-Pierre Gauthier.

Microcosme. 2000. Installation (détail). Le Lobe, Chicoutimi. Photo : Paul Cimon.

Microcosme. 2000. Installation. Le Lobe, Chicoutimi. Photo : Paul Cimon.

Collecte de poussières. 2001. Intervention. Square Cabot, Montréal. Photo : Patrick Mailloux.

Collecte de poussières. 2001. Intervention. Square Cabot, Montréal. Photo : Paul Litherland.

Collecte de poussières. 2001. Intervention. Square Cabot, Montréal. Photo : Paul Litherland.

Collecte de poussières. 2001. Intervention. Square Cabot, Montréal. Photo : Patrick Mailloux.

Early works

Archives, 1997-2001: first exhibitions and interventions in public spaces.

Collecte de poussières

Microcosme

Mémoire X99-Y04.25

Collecte d’empreintes et Lectures

Reconnaissance

To begin with, my practice was inhabited by gestures related to capturing the real – discovering through touch, scrutinizing closely, gathering impressions, inventorying, listing, classifying. Attentive observation, intensified by drawing exercises and the cataloguing of information (identification, description, measurement, and so on) immersed me in a state of disorientation and loss of reference points. The more closely I examined something, dwelled and concentrated on the details, the more it seemed to evade me, somehow becoming something else. Words quickly became inadequate to describe what I was observing. These moments of disparity between a state of perception and the act of designating, between the dimensions of experience and of language and representation, brought into focus different ways of apprehending the world – through the eyes, the hands, the skin, or thought, for example.

 

In this sense, my early works are “exercises in capturing”: starting from observations and concrete gestures, they bring out latent, invisible dimensions of an always-situated reality. The projects/artworks are tethered to specific places or events (such as a public library or an anniversary commemoration), involving a particular methodology or procedure (such as a way of gathering, cataloguing, or drawing), and are formulated from existing and defined traces (such as fingerprints, names in a phonebook, or grains of dust).

 

I don’t have very good rhythm – can I still do Zumba® classes?


Yes definitely! Zumba® uses basic dance steps that are easy to learn. After a few classes you will pick up most of the moves together with the rhythm. The most important thing is to keep moving – and having fun. You will be hooked on the music and find that you do have rhythm!




I have tried so many different ways of losing weight and keeping fit – why is Zumba® different?


Zumba® classes are different because it is easy to do, effective and fun. This is the key point to any form of exercise because you will become addicted to the class and therefore keep coming back. This in turn means that you will be regularly exercising your body which will result in weight loss and a change of body shape.




How many calories can I burn during a Zumba® Class?


The number of calories each person burns per class varies. Depending on your body parameters (type, composition, intensity, range of motion), you can burn HUNDREDS of calories per class (usually between 500 to 1000 calories!)




I am recovering from a serious accident which has resulted in me needing regular exercise. I am a bit nervous about which Zumba® class I should do – can you recommend one and why.


Firstly, if you are recovering from a serious accident or illness we would recommend a letter from your Physician/Doctor. I would always suggest that Aqua Zumba® is the best form of exercise to begin with as your body is protected by the weight and buoyancy of the water which will cushion and support your joints.




What are the best shoes to wear in a Zumba® Class?


I recommend that you wear cross training or aerobic style shoes. They provide the cushion and medial lateral support needed for side-to-side movements. They also have a low traction rubber for easy sliding and turning. Avoid trainers with deep treads because they may restrict your movement. Bare feet or only wearing socks is not recommended due to lack of support and safety concerns.




I would like to try you Aqua Zumba® class but I am not a good swimmer – does that matter?


No. The water is a certain level and will not beover your depth. However, we would suggest if you are at all nervous that you stay near the side. Aqua Zumba® does not involve swimming but simple dance steps in the water. There are lifeguards at the pool always.




I have a 3 month old baby and looking for a suitable class to get back into shape – which class would be most suitable for maximum weight loss.


Once you are feeling ready and it is safe for you to exercise then we would suggest you try the Aqua Zumba® class first as this is the least amount of strain on your body because of the cushioning effect of the water. You can take this class at your own pace but it is a very effective work-out. A good balance would be to attend Aqua Classes first and then join our Zumba® classes too. This will give you a very good combination of cardio and toning – using your muscles which will result in successful weight loss.




I have attended your Zumba® class but now want to try Zumba® Toning – where can I get some Toning Sticks from?


I do provide the Toning Sticks for you to use during the class. However, if you would like to purchase your own set of Toning Sticks you can buy them from me.




My husband wants to come to your Zumba® class with me – is it open to men as well?


Absolutely. There are men who attend our class and they are totally hooked!




My daughter wants to come to a class. She is 10 years old – could she come with me?


I have classes for children between the ages of 4 and 12 which is called Zumba®tomic. These are Zumba® classes designed solely for kids. Please see our timetable and venues for where we hold these classes. You are very welcome to join in with your daughter at these classes which are proving to be a very popular after school club.





Intervention

 

2000 | 2001

Montreal

An intervention produced twice, its procedures adapted to each of the contexts. In its first incarnation, it took place over a period of a month in a vacant store in Montreal’s Hochelaga-Maisonneuve neighbourhood (L’algèbre d’Ariane, Dare-Dare, 2000). Here, I gathered debris from the site and then counted the particles in each sample which I then recorded in a notebook. Gradually, children in the neighbourhood began adding to my collection by bringing me dust from their houses in Ziploc bags. Its second took place over two days in Cabot Square in the west end of downtown Montreal (Gestes d’artistes/Artists’ Gestures, Optica, 2001), where I marked out the terrain with a grid to collect my samples. This time, while collecting particles, I took note of people’s reactions.

 

Collecte

de poussières

Collecte de poussières. 2001. Action. Square Cabot, Montréal. Photo : Patrick Mailloux.

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Collecte de poussières. 2001. Action. Square Cabot, Montréal. Photo : Paul Litherland.

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Collecte de poussières. 2001. Action. Square Cabot, Montréal. Photo : Patrick Mailloux

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Collecte de poussières. 2001. Action. Square Cabot, Montréal. Photo : Paul Litherland.

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Collecte de poussières. 2001. Action. Square Cabot, Montréal. Photo : Patrick Mailloux.

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Welche Kurse bieten wir für Sie an?


Wir bieten Ihnen folgende Kurse: 1. Eden-Meditationskurse 2. Bailong Ball-Kurse 3. Präventionskurse




Wie melde ich mich zu einem Kurs an?


Bitte melden Sie sich über die Kontaktseite zu einem unserer Kurse an.




Welche Inhalte haben die Kurse? Wann finden die Kurse statt?


Progressive Muskelrelaxation (nach Jacobson)

8 Wochen je 1 Unterrichtseinheit a‘ 60 Minuten

26.10.2021 - 14.12.2021| immer Dienstags von 10:00 Uhr - 11:00 Uhr

Vinyasa Flow Gesundheitskurs (10 Wochen je 1 Unterrichtseinheit a‘ 75 Minuten)

25.10.2021 - 27.21.2021| immer Montags von 18:30 Uhr - 19:45 Uhr

Eden-Meditationskurs

1. Ihre Krankenkasse übernimmt ganz oder teilweise die Kosten, da der Kurs von der ZPP zertifiziert ist.

2. Sie erarbeiten sich den Balance- Schlüssel für ein stressfreies Berufsleben und einen erfüllten Alltag.

3. Sie lernen Basisfertigkeiten zur Vorbereitung von Meditation z.b. aufrecht und entspannt zu sitzen; den Zustand innerer Ruhe herzustellen; die Aufmerksamkeit systematisch durch den gesamten Körper zuführen.

4. Spezielle Meditationstechniken führen sie zu einer Steigerung der Selbst -und Körperbewusstheit, der Konzentrations- und Entscheidungsfähigkeit, der Zielklarheit, der Geduld und emotionalen Gelassenheit.

5. Der Kursbesuch hilft dem Teilnehmer, sich über Motive, Antriebe und Wertvorstellungen klar zu werden und sich auf wesentliche, eigene Potenziale und Fähigkeiten zurück zu besinnen.

Wochenendkurs (8 UE a' 60 Minuten)

Kursgebühr: 200,00 €

21.08.2021 | 22.08.2021

09.10.2021 | 10.10.2021

13.11.2021 | 14.11.2021

22.03.2022 | 23.03.2022

09.04.2022 | 10.04.2022

-----------------------------------------------------------------------------------------------------

Bailong Ball-Kurs

1. Theoretische Grundlagen

2. Aufwärmform

3. 1. Standardform

4. Tiefe Vorhand und tiefe Rückhand

Wochenendkurs für Anfänger (6 UE a' 90 Minuten)

Kursgebühr: 220,00 €

25.09.2021 | 26.09.2021

26.03.2022 | 27.02.2022




Wie nehme ich an einer Online Sprechstunde teil?


Sie können jederzeit und auf jedem beliebigen Gerät an einer Teams-Besprechung teilnehmen, ganz gleich, ob Sie über ein Microsoft Teams-Konto verfügen oder nicht.

  1. Wählen Sie in Ihrer E-Mail-Terminbestätigung "Online Sprechstunde von Dr. Edeltraud Richter" Videokonferenz: Am Meeting teilnehmen aus.

Dadurch wird eine Webseite geöffnet, auf der zwei Auswahlmöglichkeiten angezeigt werden:

  • In diesem Browser fortfahren. Dazu ist kein Download oder eine Installation notwendig. Wenn Sie über das Web teilnehmen, können Sie entweder Microsoft Edge, Google Chrome oder den Browser Ihrer Wahl verwenden. Möglicherweise fragt Ihr Browser, ob es in Ordnung ist, dass Teams Ihr Mikrofon und Ihre Kamera verwenden darf. Um in Ihrer Besprechung gesehen und gehört zu werden, müssen Sie dies zulassen.
  • Microsoft Teams App öffnen, sollten Sie diese bereits installiert haben.
Geben Sie Ihren Namen ein, und prüfen Sie die Audio- und Videoeinstellungen. Wenn Sie fertig sind, wählen Sie Jetzt teilnehmen aus.





 

Microcosme

Microcosme. 2000. Installation. Le Lobe, Chicoutimi. Photo : Paul Cimon.

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Microcosme. 2000. Installation. Le Lobe, Chicoutimi. Photo : Paul Cimon.

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Action ; installation

 

Le Lobe

Chicoutimi, Quebec

2000

Microcosme was realized during an artist residency at Le Lobe centre in Chicoutimi. I had heard that companies often used this municipality as a testing ground for various targeted marketing strategies or technological devices (ex: automated teller machines, direct payment services, etc.). Apparently, Chicoutimi’s inhabitants formed a representative sample of the so-called “old-stock” Quebeckers. Interested in this phenomenon and the rather impersonal nature of the statistics used to define it, I fashioned my own method of investigation. From the 1999-2000 edition of the Saguenay-Lac-Saint-Jean regional phone book, I cut out every Chicoutimi resident listing and re-ordered them by street name and address. I then read the names out, following a route one might take on foot through the city. The reading was played back in the exhibition space, where the list of residents was tacked to the wall in the form of small strips alphabetically ordered according to the street names. I also strolled through parts of the city, list in hand, and stopped in front of each building to read the resident’s name and address aloud. This, too, was recorded, along with a description of the house facade.

Bibliography


Chantoury, Florence. « Propos de quartier ». ETC Montréal, Montreal, n° 52 (Dec. 2000/Janv./Feb. 2001), p. 66-67

Pelletier, Denise. « Raphaëlle de Groot découpe le bottin de la ville à la loupe ». Le Quotidien, Chicoutimi, June 10 2000, p. 33.





 

 

Mémoire

X99-Y04.25

Mémoire X99-Y04.25. 1999. Intervention. Stationnement de la place d'Youville, Montréal. Photo : Jean-André de Groot.

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Mémoire X99-Y04.25. 1999. Intervention. Stationnement de la place d'Youville, Montréal. Photo : Jean-Pierre Gauthier.

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Mémoire X99-Y04.25. 1999. Intervention. Stationnement de la place d'Youville, Montréal. Photo : Jean-André de Groot.

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Intervention

Place D’Youville 

Montréal, Quebec

1999

Organized at the invitation of the Centre d’histoire de Montréal, the intervention Mémoire X99-Y04.25 reactivated via a series of ground markings the little-known history of the United Province of Canada’s first parliament: place d’Youville, now converted to a parking lot (1999). In 1849, when Montreal was still the capital, the Parliament—then housed in the same building as the St. Ann’s Market—was burned down by disgruntled Tory protesters, in retaliation for a bill that would have provided compensation to the victims of the patriot uprising (1837–1838). For a long time this event was concealed from the public. Nowhere on the site could people learn about the historical context and political motivation behind the arson. Reminiscent of coordinates on a Cartesian plane (X; Y), the title of the intervention was meant to commemorate the event’s 150th anniversary (25/04/1999).

 

I was interested in this site as a sort of physical memory lapse, looking to reconstruct with scraps of texts and fragments the multiple states and events that had influenced its identity prior to the burning down of the Parliament. With the help of an archaeologist, I was able to identify the clues and vestiges that lay dormant under the asphalt of the parking lot (the William collector sewer, the foundations of the St. Ann’s market, etc.). I then outlined the locations of these structures using blue and orange paint, and transcribed in white various excerpts from historical documents I had consulted throughout my research. For the duration of the intervention, access to the parking lot was closed-off to cars. Afterwards, the ground markings slowly disappeared, worn off by the weather and traffic.

Bibliography


de Groot, Raphaëlle. « La mémoire à l’oeuvre » in La mémoire – le virus – le risque, Actes des tables rondes du 10e anniversaire de la Galerie B-312. Montreal: Galerie B-312. 2003. p. 8-12

Déry, Louise and Anne-Marie Ninacs, Point de chute, Montreal: Galerie de l’UQAM, 2001, 112 p.

Mavrikakis, Nicolas. « Nouveaux visages ». Voir, Montreal, March 25 1999, p. 25.





 

 

Collecte

d’empreintes et Lectures

Collecte d'empreintes. 1998. Bibliothèque centrale de la Ville de Montréal. Photo : Jean-André de Groot.

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Lectures. 1999. Centre des arts actuels Skol, Montréal. Photo : Jean-André de Groot.

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Lectures. 1999. Centre des arts actuels Skol, Montréal. Photo : Guy L'Heureux.

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Lectures. 1998-1999. Livre d'artiste. Photo : Richard-Max Tremblay.

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Intervention ; installation ; livre d'artiste

Bibliothèque centrale de la Ville de Montréal et Centre des arts actuels Skol

1998-1999

Pour Collecte d’empreintes, j’ai prélevé sur la couverture des livres de la Bibliothèque centrale de la Ville de Montréal les empreintes des usagers au moyen de la méthode policière (1998). À la suite de cette intervention, j’ai entrepris de cataloguer les empreintes. À l’aide de lentilles grossissantes, j’ai effectué au Centre des arts actuels Skol des lectures des relevés en exécutant des dessins «à l’aveugle», sans regarder ma main travailler (Lectures, 1999) . Quatre albums m’ont servi à archiver les 160 empreintes accompagnées de mes observations sous forme de descriptions et de tracés variés.

Bibliography


Bonin, Vincent, Esther Bourdages, Florence Chantoury and Christian Lacombe. L’arène des livres. Montreal : Centre d’exposition de l’Université de Montréal. 2000. 24 p.

Samson, Hélène. « L’arène des livres et le domaine des images ». ETC Montréal, Montreal, n° 51, Sept./Oct./Nov. 2000, p. 34-37.

Cliche, Mireille. « Laisser des traces ». Livret de la programmation 1998-1999. Montreal: Centre des arts actuels Skol. 1999.- n.p.

Mavrikakis, Nicolas. « Art public ». Voir, Montreal, February 11 1999, p. 62

Lamarche Bernard. « La culture de la bibliothèque ». Le Devoir, Montreal, February 6-7 1999, p. D9





 

 

Reconnaissance

Reconnaissance. 1997. Installation. Dare-dare, Montréal. Photo : Jean-André de Groot.

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Reconnaissance. 1997. Détail de l'installation. Dare-dare, Montréal. Photo : Jean-André de Groot.

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Index (avant-plan) ; Reconnaissance (arrière-plan). 1997. Dare-dare, Montréal. Photo : Jean-André de Groot.

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De près. 1997. Installation vidéo. Dare-dare, Montréal. Photo : Jean-André de Groot.

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Exposition

Dare-Dare, Montréal, Qué.

1997

Dans l’exposition Reconnaissance, des empreintes de ma peau (acrylique sur acétate) étaient projetées sur une table où reposait un relief mou (pâte de sel contenue dans une enveloppe de latex) que les visiteurs pouvaient toucher. Un lecteur à microfiches permettait de visionner des empreintes de mon corps. Réalisées avec un masque à peler, celles-ci étaient conservées dans des pochettes de plastique identifiées (bouche, coude, genou, joue, mollet, etc.) et classées dans un cartable à la manière d’un index. Dans un travail vidéo, j’avais recouvert la lentille de la caméra d’une pellicule de latex pour performer sur cette surface différentes actions (l’effleurer, y enfoncer un doigt, la piquer d’une aiguille, y frotter mon visage, etc…). Les écrans des moniteurs de l’installation semblaient ainsi devenir des surfaces sensibles, habités par une présence.

Bibliography


Bonin, Vincent, Esther Bourdages, Florence Chantoury and Christian Lacombe. L’arène des livres. Montreal : Centre d’exposition de l’Université de Montréal. 2000. 24 p.

Samson, Hélène. « L’arène des livres et le domaine des images ». ETC Montréal, Montreal, n° 51, Sept./Oct./Nov. 2000, p. 34-37.

Cliche, Mireille. « Laisser des traces ». Livret de la programmation 1998-1999. Montreal: Centre des arts actuels Skol. 1999.- n.p.

Mavrikakis, Nicolas. « Art public ». Voir, Montreal, February 11 1999, p. 62

Lamarche Bernard. « La culture de la bibliothèque ». Le Devoir, Montreal, February 6-7 1999, p. D9