Location

Location

Location

Location

Lemoyne, c/o Feld
Feldstrasse 121
8004 Zurich, Switzerland

Opening Hours

Opening Hours

Opening Hours

Opening Hours

Opening hours during exhibitions: Saturdays 3 to 7 pm or by appointment.

About

About

About

About

About

Lemoyne is a nonprofit art space that is exhibiting artists from Switzerland and abroad. In their «Room1» series Lemoyne focuses on showing edition works like prints, photographs, films, performances or artist books for a short time period that can last from one evening to a weekend. The space was founded by art historian and writer Kristin Brüggemann and cultural sociologist David Khalat in the end of 2018. In 2020 the team was completed by Samuel Seemann who is well known for his digital art channel Artscene.

Contact

Contact

Contact

Contact

Contact

E-Mail, Instagram, Facebook

Imprint

Imprint

Imprint

Imprint

Responsible for Content:
Kristin Brüggemann, c/o Feld Club, Feldstrasse 121, 8004 Zurich, Switzerland

Design and Development:
David Liebermann

Screening: Arraiano, Papamargariti, Prieto, Yeomans

Screening: Arraiano, Papamargariti, Prieto, Yeomans

Emotions are material and algorithmic constructions. In a final screening and finissage, four films develop how the mind and body relate to chemical matter of our environment and how AI advancement and media create mass consensus. In a toxic landscape of hybridity, bodies’ porous input is minerals and earth. Eva Papamargariti becomes a frog with absorbent skin that absorbs toxic nanoparticles and emits fractured monologues. Alejandra Prieto scans Bolivian Lithium mines where the compound is extracted and sold. The chemical is used widely in hand-held devices such as mobile phones but is also ingested as a tablet to stabilise bipolar disorder. The chemical makeup of our devices and minds are connected. Paulo Arraiano’s Sensorial Divinities relates tentacular beings that will withstand future climates with AI and the spiritual dimension of the hyperobject. Thomas Yeomans plays with emotions, soundscapes, and societal tension in a roller-coaster display of abstract and appropriated characters. The earth’s chemical, biological, and emotional states testify to the interconnectedness of things.

Curation

Curation

Curation

Curation

Curation

Curation

Àngels Miralda

Artists

Artists

Artists

Artists

Artists

Artists

Paulo Arraiano, Eva Papamargariti, Alejandra Prieto, Thomas Yeomans

Screening Date

Screening Date

Screening Date

Screening Date

Screening Date

Screening Date

Sunday, June 9, 7 pm

Occasion

Occasion

Occasion

Occasion

Occasion

Occasion

Finissage and Screening for May Day by Achinoam Alon.

Strangers when we meet

Strangers when we meet

Strangers when we meet

Strangers when we meet

Strangers when we meet

Strangers when we meet

Strangers when we meet


Download press kit

Lemoyne is happy to announce Manuel Stehli’s first solo show in Zurich titled ‘strangers when we meet’. In a time in which social media is sometimes the only way to interact with the outside world, Manuel Stehliʼs paintings examine current concepts of distance and intimacy. The mostly large-scale paintings do not intend to tell concrete narratives, but rather to inspire individual confrontation through gestural and formal experiments. Stehli’s ordinary everyday scenes evoke a feeling of alienation, apathy and fatigue. The apparent intimacies that the artist implies between the portrayed, which are expressed in postures, gestures and facial expressions, vanish in another place into a moment of loneliness and isolation. Stehliʼs pictorial worlds fascinate us, as they turn us into voyeurs who try unsuccessfully to connect with what is visualized and, just like in the digital world, let us fail due to the limit of physical distance.

Lemoyne is happy to announce Manuel Stehli’s first solo show in Zurich titled ‘strangers when we meet’. In a time in which social media is sometimes the only way to interact with the outside world, Manuel Stehli's paintings examine current concepts of distance and intimacy. The mostly large-scale paintings do not intend to tell concrete stories, but rather to inspire individual confrontation through gestural and formal experiments. Stehli’s ordinary everyday scenes evoke a feeling of alienation, apathy and fatigue. The apparent intimacies that the artist implies between the portrayed, which are expressed in postures, gestures and facial expressions, vanish in another place into a moment of loneliness and abstraction.

These portraits are not portraits in a literal sense, but rather placeholders, as Stehli often uses stock images, Instagram profiles, games, and art historical references as inspiration for his motifs. He is particularly interested in clichéd poses, stereotypical gestures and facial expressions that inhabit the countless Instafeeds and games. In contrast to Marianne Wex, for example, who in the 1970s due to her extensive studies unmasked gender-typical gestures and facial expressions as performatively trained stereotypes, in Stehli's work attributes such as gender, as well as skin color, ethnicity or individual style play a minor role. The artist does not allow any references to real persons, but instead synthesizes many into one, creates persons without personality, Menschen ohne Eigenschaften. Only minimal gestures and postures - for example, the position of a hand or an arm – make them seem to be alive and therefore become signifiers.

Stehli’s sitters do not seek eye contact, they have no interest in interacting with each other or with us. In untitled (2020) two people lean against a counter, turned towards each other, their hands casually placed in their pockets. Their bodies seem to know each other, as they stand close to each other, touching, merging. At the same time, however, both stare with disinterest into the void, in different directions, expressionless and almost bored - as if they were strangers - or have become strangers. With the help of painterly methods, such as color scheme, gradations and overlapping color fields, but also picture details, Stehli succeeds in creating certain emotional worlds, oscillating between distance and intimacy and thereby questioning boundaries.

Stehli’s architectural motifs and landscapes are also often simulations. He borrows them from computer games and then deconstructs them to unveil their formal structure. These reproductions of reproductions are as inaccessible as Stehli’s portraits. The knowledge of their constructed nature is the very reason why it is impossible to identify with them, thereby exposing the artificiality of the digital world. Nevertheless, Stehli's pictorial worlds fascinate us, as they turn us into voyeurs who try unsuccessfully to connect with what is visualized and, just like in the digital world, let us fail due to the limit of physical distance.

Stehli studied art in Leipzig and London and lives and works in Berlin.

Text by Kristin Brüggemann

Artist

Artist

Artist

Artist

Artist

Artist

Manuel Stehli

Opening

Opening

Opening

Opening

Opening

Opening

Friday, October 2, 5 to 9 pm.

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

October 3 to 31, 2020 - extended until November 7, 2020

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Due to current circumstances by appointment only.
Manuel Stehli - strangers when we meet - Lemoyne
Manuel Stehli - strangers when we meet - Lemoyne
Manuel Stehli - strangers when we meet - Lemoyne
Manuel Stehli - strangers when we meet - Lemoyne
Manuel Stehli - strangers when we meet - Lemoyne
Manuel Stehli - strangers when we meet - Lemoyne
Manuel Stehli - strangers when we meet - Lemoyne
Manuel Stehli - strangers when we meet - Lemoyne
Manuel Stehli - strangers when we meet - Lemoyne
Manuel Stehli - strangers when we meet - Lemoyne
Manuel Stehli - strangers when we meet - Lemoyne

Bottom Up

Bottom Up

Bottom Up

Bottom Up

Bottom Up

Bottom Up

Bottom Up


Lemoyne is happy to announce Malte Bartsch's (*1984) first solo show in Zurich titled ‘Bottom Up’. In this exhibition, the Berlin-based artist explores themes of innovation, labor and the relationship between man and machine that are recurrent in his œuvre. The so-called ‘bottom-up approach’ describes the optimization of work processes from ‘bottom to top’. In this process, an increased and thus more profitable work performance is achieved by giving employees the right of co-determination with regard to certain projects and processes, thereby stimulating their motivation. This process culminates in an apparent freedom that is particularly popular in times of tech start-ups, which have now grown into giants, and is part of their innovation-driven success. In his exhibition ‘Bottom Up’, Malte Bartsch discusses what technological progress, competition and labor can stand for in an age of technology and globalization. The measurability of success and optimization is questioned, as well as the inability of humans to deal with their own failure.

Artist

Artist

Artist

Artist

Artist

Artist

Malte Bartsch

Opening

Opening

Opening

Opening

Opening

Opening

Sunday, September 6, 2 to 7 pm.

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

September 7 to 26, 2020

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Saturdays, 3 – 7 pm and by appointment.
Malte Bartsch - Bottom Up - Lemoyne
Malte Bartsch - Bottom Up - Lemoyne
Malte Bartsch - Bottom Up - Lemoyne
Malte Bartsch - Bottom Up - Lemoyne
Malte Bartsch - Bottom Up - Lemoyne
Malte Bartsch - Bottom Up - Lemoyne
Malte Bartsch - Bottom Up - Lemoyne
Malte Bartsch - Bottom Up - Lemoyne
Malte Bartsch - Bottom Up - Lemoyne
Malte Bartsch - Bottom Up - Lemoyne

Z.I.P. - Zoom In Paintings

Z.I.P. - Zoom In Paintings

Z.I.P. - Zoom In Paintings

Z.I.P. - Zoom In Paintings

Z.I.P. - Zoom In Paintings

Z.I.P. - Zoom In Paintings

Z.I.P. - Zoom In Paintings


Download press kit

Case Study Z.I.P. (Zoom in Paintings): Test Subject #167
Time: Test Subject’s Entry (2/11/2150)
9.58 AM
Got to the Lab earlier than anyone else, eager to start the new experiment. I like having a moment alone with my microscope – to polish and prepare it. Its touch feels almost like a second skin now – I love its sleek, curved, steady arc between my fingers, to turn its coarse and fine focuses and hear the delicious clicks one after the other, to feed its clear glass tongue with various droplets of information. It’s a very intimate, almost transcendent space that we share – me and this machine, solving the big mysteries of our kind as one, finding the One True New Form. Often, I feel like it understands me more than my peers here, or anyone has ever had. Its cold, precise body calms me down, promising results. It makes me feel safe and powerful. This could be how man must’ve felt when Prometheus first gave them Fire.
13.22 PM
Spent the last couple of hours picking and trying out the different heads but it’s just not working. I don’t know what I’m doing wrong. The head prototypes were generated based on our last lab report that clearly prescribed the New Form’s facial structure. For the past more than 1000 years we have been doing this research, collecting data on ideal forms from every century: Venuses of Willendorf and Velasquez, Egyptian carvings, Michelangelo’s David, the ladies of Török János and Zsolnay, Leonardo’s Mona Lisa, Picasso’s Mademoiselle D’Avignon, Monroe, Kardashian, feeding it into our A.I system to create the New Perfect Form out of the repurposed old ideals. We have looked at every organic form ever created by Man and Nature, every little pixel of symmetry. So why can’t we do what Nature did? What are we missing?
17.15 PM
I can’t focus on work anymore and keep walking up and down the Lab. Am I the only one here who sees that we aren’t going anywhere with all this work? What even is the New Form? All this data that we have gathered and analysed from all these different sources throughout the ages – isn’t it all arbitrary and subjective? Who are we to say what the New Face or New Body or New Mind should be? And why haven’t we interacted with Nature itself, just data, for over 1000 years? I tried to talk to my colleague P. about it but they just spoke to me as if I was a child or a madman. I asked them if they remembered mountains or the sky - they just stared at me, told me to write a journal entry about how I was feeling, and then went back to their goddamn microscope.
22.48 PM
I’m going to try to sleep. Things needs to change tomorrow… somebody has to ask questions. Sometimes I think They’re just laughing at us. Sometimes, I wonder if our goal, the New Form, even exists – whether they just keep us at this god-forsaken lab because we are the ones being experimented on. I’m saying all this out loud to the moth prototype, or the Falcon as I call it, that I made a couple of months ago…lately, it’s the only thing I’ve been talking to really. There is something comforting about this little flying machine, encircling the light every evening, over and over again, with new hope, new purpose every time. I wonder how it remember that’s what it’s supposed to do…

Text by Sonja Teszler

Artist

Artist

Artist

Artist

Artist

Artist

Botond Keresztesi

Curator

Curator

Curator

Curator

Curator

Curator

Peter Bencze

Opening

Opening

Opening

Opening

Opening

Opening

Saturday, August 8, 2 to 7 pm.

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

August 9 to 29

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Saturdays, 3 – 7 pm and by appointment.

橫掃 Sweep of the horizon

橫掃 Sweep of the horizon

橫掃 Sweep of the horizon

橫掃 Sweep of the horizon

橫掃 Sweep of the horizon

橫掃 Sweep of the horizon

橫掃 Sweep of the horizon

Lemoyne is happy to announce Rebekka Steiger's solo show "橫掃 Sweep of the horizon" with new monotypes by the artist.
橫掃 (Wangsou) literally means something similar to "horizontal sweeping" in Cantonese, whereby "wang" as a noun can also describe a horizontal line in calligraphy. The term additionally denotes a typhoons’ sweeping across the country. Loosely translated into English, the term provides with yet another meaning, as in this expression "sweep", read as a noun, refers to the width of the horizon. With the new exhibition Rebekka Steiger presents distant landscapes of dimly visible flora and fauna. The painterly medium of the monotype allows her to play with overlaps and transparencies. Steiger recourses to specific motifs and formal structures exploring the pictorial space in its two-dimensionality. The artist introduces the horizontal rather as a graphic element in contrast to its classical use for the depth effect.
Accordingly, Steiger’s new works oscillate between planar constructivism and Chinese landscape painting. The varying colorfulness and new compositional structures within this series of work synthesize different artistic cultures showing a global outlook towards contemporary painterly aesthetics.

Artist

Artist

Artist

Artist

Artist

Artist

Rebekka Steiger

Curators

Curators

Curators

Curators

Curators

Curators

Lemoyne

Opening

Opening

Opening

Opening

Opening

Opening

Saturday, June 27, 2 to 7 pm.

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

June 28 to July 25, 2020

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Saturday 4 p.m. to 7 p.m. and by appointment

Double or Nothing Exhibition

Double or Nothing Exhibition

Double or Nothing Exhibition

Double or Nothing Exhibition

Double or Nothing Exhibition

Double or Nothing Exhibition

Double or Nothing Exhibition

Lemoyne and Wagner&Friends are happy to announce Frédéric Gabioud’s first solo show in Zurich with new works by the artist.
Gabioud’s paintings develop a clear, fresh and acidic monochrome pictorial vocabulary. Revisiting the heritage of major Swiss and American movements, Gabioud reveals clear affinities with Minimalism and geometrical abstraction.
The different interventions on the stretcher, which are subject to a strict chro- matic unity, determine the variation of the colours, according to the inclinations of the canvas and the light sources. In a tug-of-war with the surface, the artist thus takes the canvases out of their flatness, through evolutions of depth that ensure the work an absolute interaction with its environment.
Gabioud’s works can only be seen in their materiality – sufficiently elaborated to produce these effects in reality. From an obscurantism that is still often provocative, the question of the monochrome is then reformulated in a version that invites a more technical and visual experience, less romanticized, but also more critical: that of a monochromy that contradicts itself.

Artist

Artist

Artist

Artist

Artist

Artist

Frédéric Gabioud

Curators

Curators

Curators

Curators

Curators

Curators

Lemoyne in collaboration with Wagner&Friends.

Opening

Opening

Opening

Opening

Opening

Opening

Thursday, 5 March, 2020, from 6:00 – 9:00 pm

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

March 6th to May 30th, 2020

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Saturdays, 3 – 7 pm and by appointment.

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Saturdays, 3 – 7 pm and by appointment.

Photography

Photography

Photography

Photography

Photography

Photography

Julien Gremaud

Dolls Exhibition

Dolls Exhibition

Dolls Exhibition

Dolls Exhibition

Dolls Exhibition

Dolls Exhibition

May Day Exhibition

Dolls Exhibition

Dolls Exhibition

Dolls Exhibition

Between 2011–2018, Amélie Korzil photographed a total of 1142 mannequins in 641 analogue photographs all over the world. These have become the basis of “dolls”, an archive that the concept artist has since dealt with. Subjective questions on the representation of gender, race and taste are at the focus of her multimedia practice. Korzil finally exposes her “dolls” as representatives of social norms that are actually obsolete for consumer choice. Lemoyne is pleased to present for the first time the entire archive and all related works.

Artist

Artist

Artist

Artist

Artist

Artist

Amélie Korzil

Curation

Curation

Curation

Curation

Curation

Curation

Lemoyne

Opening

Opening

Opening

Opening

Opening

Opening

Saturday, September 28, 7 to 9 pm

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

Exhibition dates

September 29 to October 18, 2019

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Opening hours

Saturdays, 3 to 7 pm and by appointment.

May Day Exhibition

May Day Exhibition

May Day Exhibition

May Day Exhibition

May Day Exhibition

May Day Exhibition

May Day Exhibition

May Day Exhibition

May Day Exhibition

May Day Exhibition

A slow drip of a viscous material congeals into a solid mass. Wax is made by bees, specifically worker bees, whose hexagonal designs are arranged by the hive-mind. From the day of birth, these labourers are assigned with a societal order – a responsibility to their queen.

May Day is labour’s festivity, a celebration of production by the erasure of work. Abolishing work could be possible with automation, but today it seems more likely to experience the end of the world than the end of work. Never before have we toiled more hours under 0-hour-contracts and countless methods of social self-surveillance. Algorithms outpace our thinking, collecting online “cookies” and replacing domestic labour. The female voices of our first mass-servants Alexa and Siri strive to seduce and to please.

Our unconscious desires surround us through targeted ads. Prediction itself has always been a business that homogenises the population. Fortune cookies were first served in San Francisco where today’s tech companies crowd the Bay Area. Like palmistry, or tarot, it is based on systemic methods of applying data and generalised formula – and yet what would happen if we knew the future? The scientific projections of environmental cataclysm strike no emotion. 2 degrees Celsius. When it slowly melts, changes its outlines and transforms its shape as it approaches the water, does it remain the same as before? AI and jellyfish will survive in the future landscape – bees and humans will find a different fate.

Sea-snail shapes adapt to the inside of our waxy inner ear. A mechanical humdrum, Balenciagasponsored- apocalypse-shelters, larval bodies occupying hexagonal frames. Another May Day passes on our warming planet. The wax gets softer.

Exhibition Dates

Exhibition Dates

Exhibition Dates

Exhibition Dates

Exhibition Dates

Exhibition Dates

May 5 to June 9, 2019

Opening

Opening

Opening

Opening

Opening

Opening

Saturday, May 4, 7:00 – 9:30 pm

Artist

Artist

Artist

Artist

Artist

Artist

Achinoam Alon

Curation

Curation

Curation

Curation

Curation

Curation

Àngels Miralda

Photography

Photography

Photography

Photography

Photography

Photography

Joseph Devitt Tremblay

Words Exhibition

Words Exhibition

Words Exhibition

Words Exhibition

Lemoyne zeigt die Ausstellung «Words» mit Arbeiten von Carl Andre, Beni Bischof, Henri Chopin, Sylvie Fleury, den Guerrilla Girls, Sarina Scheidegger und Ariane Koch, Alina Kopytsa, Barbara Kruger, Richard Long, Cy Twombly, Jenny Holzer und Virgil Abloh.

Sind Wörter in Zeiten von Social Media und Motivationssprüchen zum reinen Kitsch verkommen? Sind sie im als «postfaktisch» bezeichneten Zeitalter bedeutungslos und leer geworden? Was passiert, wenn man sie ausspricht, sie hört, in Dialog mit ihnen tritt?

Wörter spielten in der visuellen Kunst jeher eine prominente Rolle: Vom Surrealismus, Dadaismus über die Konzeptkunst, die Visuelle Poesie bis hin zu politischen bzw. aktivistischen Kunst des Feminismus und Konsumkritik wurden Wörter von Künstler_innen immer wieder als visuelles Mittel eingesetzt. Sie sind dabei je nach Kontext und Form politisch, ironisch, poetisch, typografisch, abstrakt aber auch konzeptuell oder dokumentarisch.

Gedruckt, gezeichnet, gemalt, getippt, gesprochen – oder sogar gestickt finden sie ihren Platz in Büchern, Filmen, im Internet, auf Postkarten, T-Shirts oder Postern. Wörter können platt wirken, aber auch als Zeichen unendlich viel beinhalten, vermitteln und kommunizieren, Begehren erwecken, eine ganze Welt hinter dem Wort freigeben. In Sätzen miteinander verbunden können sie Sinn vermitteln, oder Unsinn. Sie können hinterfragen, auf etwas verweisen, als Text etwas erzählen oder aber auch zum reinen grafischen Zeichen werden. Je nachdem an wen sich die Wörter richten sollen, setzen Künstler_innen unterschiedliche Sprachen ein: In den meisten Fällen Englisch, jedoch auch Spanisch, Portugiesisch oder Arabisch.

«Words» soll die Auseinandersetzung über die Bedeutung von Wörtern in der Kunst anregen und die grosse Variation im Umgang mit Sprache und Text innerhalb der Kunst aufzeigen. Dafür setzt «Words» unterschiedliche künstlerische Positionen aus verschiedenen Zeiten miteinander in Bezug.

Exhibition Dates

Exhibition Dates

Exhibition Dates

Exhibition Dates

Exhibition Dates

Exhibition Dates

April 16 to 24, 2019

Opening

Opening

Opening

Opening

Opening

Opening

Tuesday, April 16, 7.30 to 9.30 pm.

Artists

Artists

Artists

Artists

Artists

Artists

Carl Andre, Beni Bischof, Henri Chopin, Sylvie Fleury, den Guerrilla Girls, Sarina Scheidegger und Ariane Koch, Alina Kopytsa, Barbara Kruger, Richard Long, Cy Twombly, Jenny Holzer und Virgil Abloh.

S.M.S. Exhibition

S.M.S. Exhibition

S.M.S. Exhibition

S.M.S. Exhibition

Lemoyne presents Shit Must Stop in its entirety for its inaugural exhibition in Zurich. Reconnecting with the artistic ideas of S.M.S. in 1968, Lemoyne will highlight the timelessness of their conceptual and democratic approach to art.

About S.M.S.

About S.M.S.

About S.M.S.

About S.M.S.

Shit Must Stop (S.M.S.) was founded in 1968 by William Copley and Dmitri Petrov in a loft on the Upper West Side in New York, which became the production site of the artist magazine during its short-lived production time between February and December 1968. It was published non-commercially every two months with each of the six editions having a circulation of 2000.
Copley invited leading but also lesser known members of the Fluxus, Concept, and Pop Art movements as well as surrealists and dada artists such as Christo, Marcel Duchamp, Richard Hamilton, On Kawara, Roy Lichtenstein, Claes Oldenburg, Meret Oppenheim, Man Ray and Dieter Roth to produce small-format editions. Each artist was paid $100 for their contribution no matter what their status. Copley’s Letter Edged in Black Press loft became an important hangout for many New York artists and participants of S.M.S.
For each issue, the different contributions were packed in a folder designed by one artist and mailed to the subscribers. Inspired by the media-hybrid character of the Fluxus movement and the avant-garde’s claim to unite art and life, the artists multiplied the individually-designed works as original luxurious reproductions with the intention of making artistic content and ideas accessible to a wider audience. The large edition size and the relatively low price of $125 per subscription enabled a wide audience to collect many of the already internationally recognized artists.
The periodical has a wide range of different media and techniques that have been assigned equivalent status. It contains contributions such as drawings, prints, photographs, tapes, letters, postcards, poems or objects that often have an experimental character. All artworks are contained in the six mailing folders and can be unpacked and activated as artworks. The approach to create an art collection in a box was inspired by Marcel Duchamp’s Boîte-en-valise, which was created as a portable museum during uncertain times in which many artists were constantly travelling.

Exhibition Dates

Exhibition Dates

Exhibition Dates

Exhibition Dates

Exhibition Dates

Exhibition Dates

November 25 to December 15, 2018

Manuel Stehli – strangers when we meet – extended until November 7. Manuel Stehli – strangers when we meet – extended until November 7. Manuel Stehli – strangers when we meet – extended until November 7. Manuel Stehli – strangers when we meet – extended until November 7. Manuel Stehli – strangers when we meet – extended until November 7.

Malte Bartsch – Bottom Up – Opening: Sunday, September 6, 2 to 7 pm. Malte Bartsch – Bottom Up – Opening: Sunday, September 6, 2 to 7 pm. Malte Bartsch – Bottom Up – Opening: Sunday, September 6, 2 to 7 pm. Malte Bartsch – Bottom Up – Opening: Sunday, September 6, 2 to 7 pm. Malte Bartsch – Bottom Up – Opening: Sunday, September 6, 2 to 7 pm.

Botond Keresztesi – Z.I.P. - Zoom In Paintings – Curated by Peter Bencze Botond Keresztesi – Z.I.P. - Zoom In Paintings – Curated by Peter Bencze Botond Keresztesi – Z.I.P. - Zoom In Paintings – Curated by Peter Bencze Botond Keresztesi – Z.I.P. - Zoom In Paintings – Curated by Peter Bencze Botond Keresztesi – Z.I.P. - Zoom In Paintings – Curated by Peter Bencze

Rebekka Steiger – 橫掃 Sweep of the horizon – Soft Opening: Saturday, June 27, 2 to 7 pm. Rebekka Steiger – 橫掃 Sweep of the horizon – Soft Opening: Saturday, June 27, 2 to 7 pm. Rebekka Steiger – 橫掃 Sweep of the horizon – Soft Opening: Saturday, June 27, 2 to 7 pm. Rebekka Steiger – 橫掃 Sweep of the horizon – Soft Opening: Saturday, June 27, 2 to 7 pm. Rebekka Steiger – 橫掃 Sweep of the horizon – Soft Opening: Saturday, June 27, 2 to 7 pm.

Frédéric Gabioud – Double or Nothing – March 6th to May 30th, 2020Frédéric Gabioud – Double or Nothing – March 6th to May 30th, 2020Frédéric Gabioud – Double or Nothing – March 6th to May 30th, 2020Frédéric Gabioud – Double or Nothing – March 6th to May 30th, 2020

Amélie Korzil – Dolls – Exhibition: September 29 to October 18, 2019Amélie Korzil – Dolls – Exhibition: September 29 to October 18, 2019Amélie Korzil – Dolls – Exhibition: September 29 to October 18, 2019Amélie Korzil – Dolls – Exhibition: September 29 to October 18, 2019Amélie Korzil – Dolls – Exhibition: September 29 to October 18, 2019

Arraiano, Papamargariti, Prieto, Yeomans – Screening: June 9, 2019Arraiano, Papamargariti, Prieto, Yeomans – Screening: June 9, 2019Arraiano, Papamargariti, Prieto, Yeomans – Screening: June 9, 2019Arraiano, Papamargariti, Prieto, Yeomans – Screening: June 9, 2019

Achinoam Alon – May Day – Exhibition: May 29 to June 9, 2019Achinoam Alon – May Day – Exhibition: May 29 to June 9, 2019Achinoam Alon – May Day – Exhibition: May 29 to June 9, 2019Achinoam Alon – May Day – Exhibition: May 29 to June 9, 2019Achinoam Alon – May Day – Exhibition: May 29 to June 9, 2019

16.–24.

April 19

Words

Words – Exhibition: April 16 to 24, 2019Words – Exhibition: April 16 to 24, 2019Words – Exhibition: April 16 to 24, 2019

25.11.–

15.12.18

S.M.S.

S.M.S. – Exhibition: November 25 to December 15, 2018S.M.S. – Exhibition: November 25 to December 15, 2018S.M.S. – Exhibition: November 25 to December 15, 2018