5 March – 16 May

What Is Really Matter

Canadian-French artist Sylvie Lambert (b. 1984, Montréal) presents her first solo exhibition, unveiling a new body of work produced predominantly since 2025. Through layered painting, sculptural assemblage and immersive installations, Lambert investigates materiality, perception and the boundary between representation and objecthood. Her practice combines painterly gestures, found materials and discreet colour studies to interrogate memory, embodiment and the politics of surface, inviting sustained attention to texture, scale and fragile systems of meaning.

Grand Rue 23,
Switzerland
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Photo Credit: Claude Cortinovis

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19 February – 9 May

Zoe A. Keller and Batia Suter present a collaborative project that reframes the Eranos archives—about 3,000 archetypal images compiled by Olga Fröbe-Kapteyn and held at the Warburg Institute—as material for critical and photographic inquiry.
Taking the form of a critical essay and a photographic installation, the work questions and re-signifies these images, confronting their entanglement with universalist and violent ideologies. The artists propose the notion of the ‘anarchétype’ to reveal archetypal figures as unstable cultural constellations.

29 April – 5 July

Artist Jessica Decorvet presents an immersive installation and scenography centered on a monumental curtain that choreographs a shifting landscape. Through sculpture, textile and spatial interventions, the work stages transformations of perception and material histories, exploring entanglements between nature, cultivation and human intervention. The exhibition evolves over time with the staged unveiling of Néophytes, inviting reflection on emergence, adaptation and the politics of presence within constructed environments.

9 October 2025 – 30 August 2026

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.

20 February – 29 November

Marie Ducaté presents Simultanés, an installation that transposes the spirit and traces of her studio into a theatre of objects. Combining ceramics, tracing paper, watercolor, textile and glass, the work sits at the intersection of pop culture and art history. The installation foregrounds a chromatic range from vivid colour to transparency and investigates the sensuality of materials, inviting close attention to texture, surface and the intimate relationships between form and materiality. Curated by Claire FitzGerald.

8 May – 27 September

Vladimir Kartashov presents site-specific installations that unfold across historic island spaces, exploring temporal sequences and memory. Through sculptural interventions, architectural adaptations and subtle interventions in sacred interiors, the artist stages a choreography of objects and light that reconfigures perception of place and time. The series juxtaposes material rigor with ephemeral gestures, inviting reflection on duration, ritual and the layered histories embedded in built environments.

Opening:  Friday 8 May, 19:30
In the presence of the artist
Musical performance by Manuel d’Amico Principle Double Bass of the Orchestra Regionale Filarmonia Veneta

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