Painter Elise van den Brand examines figurative painting and the dynamics of the gaze in a new body of work. Through cropped portraits and fragmentary compositions she interrogates the tension between how subjects intend to be seen and how viewers project narratives onto images. The exhibition draws on Sartre’s notion of le regard, explores social armour as protective presentation, and probes the instability that emerges when contextual markers are removed, exposing ambiguous subjectivities.
This spring, Villa Bernasconi hosts Helvetropicos, a platform that brings together Switzerland-based artists with strong ties to Latin America. The exhibition explores hybrid identities and contemporary forms of cultural mixing through diverse works—installations, sculptures, paintings, and more—inviting visitors to rethink how reality is shaped and experienced.
Opening : Tuesday 5 May, 18:00 – 21:00
Song Ruijin presents her first institutional solo exhibition, assembling a new series of paintings and ceramic sculptures within a site-specific installation. She constructs an unstable universe where the sky becomes ground and interior merges with exterior, populated by emoji-like figures that reflect individual alienation and the absurdities of digital capitalism. Through a syncretic visual language of accumulating imagery—sometimes comforting, sometimes unsettling—her sensory installations reveal logics of exploitation and control affecting human and non-human actors.
Opening: Thursday 28 May, 18:00
The eighth edition of “Un Soir aux Eaux-Vives” invites visitors to explore the neighborhood’s galleries, artist studios and exhibition spaces. Participating venues present a diverse programme of painting, sculpture, installation and photography, showcasing established and emerging practices. The evening emphasises dialogue and convivial exchange, highlighting local artistic approaches and experimental techniques. Visitors can discover varied visual languages, material processes and thematic explorations that reflect the cultural and social textures of the Eaux‑Vives district.
Etienne Francey and Onoko present a collaborative exhibition exploring the mirage as visual and psychological phenomenon. Francey’s photographic practice treats landscapes as memory, rendering familiar scenes with a soft, recollected quality. Onoko contributes more abstract works that distill atmosphere and luminous degradation into colour fields and ephemeral surfaces. Together their pieces interrogate perception, illusion, and the shifting boundary between apparition and documentation, using photography, colour studies and light to destabilize what the eye assumes to know.
Jean-Jacques Rousseau’s herbarium, compiled in the 1770s for the printer-bookseller Charles-Joseph Panckoucke, is presented through preserved pressed specimens, its original catalogue and related botanical publications. The historical collection combines scientific observation and aesthetic arrangement, revealing Enlightenment approaches to collecting, classification and the popularisation of plant study. Detailed notes and annotations illuminate Rousseau’s techniques and the materiality of specimens, inviting reflection on how personal curiosity and scholarly networks shaped early modern natural history.
Gérard de Palézieux’s illustrated books are presented in a curated selection of some fifty volumes showcasing original prints—etchings and lithographs—that reveal the artist’s draughtsmanship and graphic sensibility. The presentation focuses on the dialogue between image and text, highlighting sequence, typography and the hand of the illustrator. Many volumes come from the library of a prominent European bibliophile; a new catalogue accompanies the selection, documenting plates, editions and printing techniques.
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