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.
“Drawing on Francisco Goya’s witch engravings and Tauromachia series, the project uses the monster, ritual, and satire as languages to express social, political, and mediated violence — normalized over time. Goya’s Nightmare is not a story of the past, but a dark prism through which to view our present. It seeks to reveal what remains unseen: violence against women when it stops being decorative and becomes systemic.” — Leah Linh
Documents d’artistes Genève marks five years with Five Years, Stuck on My Eyes, a multifaceted exhibition gathering more than 40 affiliated artists. Through collaborative and networked practices the show presents works across media, exploring collective identity, artistic networks and contemporary social concerns.
Three distinct curatorial positions (Marie Bassano, Jill Gasparina, Caroline Honorien) and a capsule curated by Laurence Favez offer intersecting perspectives that reveal how collaboration shapes artistic identity and practice.
‘Pleasing the Spirits’ brings together artworks and ritual objects that traverse global cosmologies, honouring ancestral rites and belief systems. The show assembles a contemplative visual language—interventions, sculptural forms and intimate objects—that traces distant ways of seeing and the material traces of ritual practice.
Through tactile surfaces, quiet compositions and evocative juxtaposition, the exhibition invites reflection on what spirits, memory and cultural transmission reveal, question and preserve across time and place.
In English. Kids ages 12 and up.
May 1972 is an exhibition dedicated to Salvatore Emblema (Naples, 1929–2006), bringing together works produced between the late 1960s and the early 1980s. Across paintings, sculptures and installations, Emblema refines a conceptual language that interrogates materiality, form and temporality. The presentation highlights his experimental use of found materials, assemblage and reductive gestures, situating these works within postwar Italian avant‑garde practices and the artist’s evolving exploration of spatial and epistemic limits.
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.
John M Armleder is invited for the museum’s sixth Carte Blanche, presenting over 500 works in a thematic traversal that juxtaposes heritage and contemporary creation. The installation-driven exhibition stages dialogues between animals, abstract painting, musical instruments and lighting, using assemblage, ephemeral structures and situational interventions to encourage wandering and reinterpretation. Paintings, sculptures and installations are layered and superimposed to prompt new readings of the collection and to foreground process, chance and visual play.
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