Clara Roumégoux examines production relations and the pressure to be productive through a concise series of works. Addressing food, design and sleep, she subverts everyday objects so they become signifiers of our era. Through moving image, print, installation and playful references to painting, her practice blurs domesticity and industry, care and efficiency. The exhibition questions habitual assumptions and evokes the subtle social forces that shape everyday routines and bodily rhythms.
The Tender Buttons exhibition offers a multidisciplinary exploration centered on buttons, delving into their identity and historical significance. Featuring over three hundred ceramic and glass buttons, the exhibition interacts with the museum’s works to highlight their role in both formal experimentation and socio-cultural narratives. The exhibition’s architecture evokes the commercial arcades of the 19th century, a pivotal era for button industrialization. Curated by Claire FitzGerald, the exhibition is supported by the Swiss Fashion Museum and showcases never-before-seen pieces from several prestigious collections.
The exhibition “Sauvages” at the Cité Library invites visitors to delve into the behind-the-scenes of Claude Barras’s film. It is divided into three sections that cover the ecological and cultural aspects of Borneo, reveal the creative and production processes of the film, and immerse the audience in the filming atmosphere through never-before-seen photos and testimonials. Original documents, drawings, travel journals, sets, and figurines enhance this immersive experience.
FURTHER AFIELD
This exhibition celebrates the artistry of Michel Mottier, a craftsman from the Pays-d’Enhaut who carves each wooden cream spoon with patience and precision. Discover around a hundred unique handcrafted spoons, each reflecting his remarkable skill and dedication to this singular passion.
German photographer Lia Darjes presents the Plates-I-XXXI series, born from an observation of a squirrel approaching a leftover cake during lockdown. She reconstructs domestic meals, collects their detritus: dishes, flowers and crumbs, and arranges them with care as the beginnings of contemporary still lifes. She then sets a camera programmed to trigger in her absence, sometimes leaving it for nights, allowing animal intervention to capture suspended moments. The series celebrates subtle coexistence between humans and animals and the quiet beauty of a shared world.
In collaboration with the Centre de la photographie de Genève.
The International Museum of the Red Cross and Red Crescent presents the first European solo exhibition of Guatemalan Maya Kaqchikel artist Angélica Serech (*1982). Pach’un Q’ijul (Temps entrelacés – Deep Time) intertwines ancestral weaving gestures with personal and collective memory, drawing on Serech’s history shaped by Guatemala’s civil war. Using self-built looms and natural materials like corn husks and branches, her works explore resilience, repair, and the deep ties between textile traditions and humanitarian action.
During the renovation period of the MAMCO Genève building, the circulation of the collection and archival holdings provides an opportunity to initiate a series of off-site projects conceived as spaces of dialogue between Geneva’s cultural institutions.
In this context, the museum is partnering with the Maison Saint-Gervais to present an exhibition dedicated to Patricia Plattner (1953–2016), a Geneva-based artist, filmmaker and screenwriter. In 2025, her family entrusted MAMCO with the archives of her work; the exhibition offers an initial presentation of these materials through a selection of films, documents and archival items.
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