Latest Events in Zurich(July Updated)

Fespo 2025, the anticipated annual event for travel enthusiasts and industry professionals, is set to take over the Zurich exhibition in Zürich, Switzerland. From January 30th to February 2nd, attendees will be treated to a showcase of the latest trends, destinations, and innovations in the world of travel. " "Held in the heart of Europe, Fespo 2025 promises to be a melting pot of cultures, ideas, and experiences. With exhibitors from all corners of the globe, visitors can expect to be whisked away on a journey of discovery without even leaving the venue. At the Zurich exhibition, one of the city's premier event spaces, there'll be plenty of room for networking, learning, and of course, fun." "Whether a seasoned traveler or someone looking to take their first steps into exploring the world, Fespo 2025 is the event to be at. So mark those calendars, and prepare for an adventure at Fespo 2025. It's an occasion not to be missed, and certainly one that will leave attendees with itchy feet and a head full of dreams!

Mark the calendars for the highly anticipated event of the year – Man’s World 2025! This unparalleled gathering is set to take place in the heart of Zürich, at the prestigious Halle 550, Zurich, Switzerland. With its state-of-the-art facilities, Halle 550 promises to be the perfect backdrop for this innovative event. " "Kicking off on January 30th and running through February 2nd, 2025, the event is designed to cater to the modern man's interests and passions, offering an experience like no other. Attendees can expect to immerse themselves in the latest technology, automotive marvels, exceptional craftsmanship, and lifestyle trends that define what it means to be a man in today's world. " "Don't miss out on Man’s World 2025 – the event that promises to set the bar for years to come. Relish in the opportunity to network, learn, and be inspired in an environment that's custom-tailored for success. This is more than just an event; it's a statement. It's Man's World 2025.

This exhibition will focus on the textile works of American artist Sheila Hicks, Swiss artist Elsi Giauque and others, ranging from plain and simple fabrics to fancy and colorful tassels, from two-dimensional geometric pattern weaving to free-form products in three-dimensional space, striving to present the creativity of the artists and the unique appeal they give to their works.

Zurich Carnival 2025 will take place from 7 to 9 March 2025. Expect a three-day extravaganza filled with parades, music, costumes and parties. The city is transformed into a carnival paradise with events for all ages that promise an unforgettable experience.

Bernheim Gallery is pleased to present Mortal Thoughts, a group show that brings together the practices of four artists: Nutsa Gogaladze, Ant Łakomsk, Travis MacDonald, and Rico Weber. The exhibition explores the lingering traces of absence and presence that remain as echoes of past experiences or as conjured fragments from the unknown. Working at the intersection of abstraction and figuration, the exhibition continuously hints at a fragment of memory that remains hidden, never fully unveiled. Through abstraction, obscured figures, and the interplay of light and shadow, this theme unfolds literally in the paintings of Łakomsk and MacDonald, where hazy figures emerge through painterly brushstrokes, as well as more conceptually through the works of Gogaladze and Weber, which explore how memory materialises within spatial constructs.

Lullin + Ferrari present new works by Franziska Furter (*1972 in Zurich, lives and works in Basel) in her seventh solo exhibition at the gallery.

HR Festival is a great human resource management event HR Festival is a great human resource management event. Many lectures and panel discussions, but also the overwhelming offers at the stands of the exhibitors were excellent contents to inform themselves in the HR area about the news. Information Source: boerding exposition SA | expotobi

FINANZ will be something quite special in its anniversary year. It will focus exclusively on professional investors, thereby acquiring a very clear profile. From now on, the event programme will accordingly be targeted consistently at professionals. From now on, both days of the fair will be reserved for this target audience, which includes asset managers, private bankers, family offices, pension funds, etc. Fonds will welcome more than 100 exhibitors this time. The exhibitor profile for this event will include banks, money lending organizations, fund service agencies, asset management companies, investment companies, private capital management organizations, regulatory bodies and lots more. Information Source: DeltaBlue AG | expotobi

Expovina Primavera event showcases products like a variety of wines from renowned wine producers coming from various countries including Australia, Germany, and France apart from a series of others and Modern design, Arrive comfortably Expovina Primavera event showcases products like a variety of wines from renowned wine producers coming from various countries including Australia, Germany, and France apart from a series of others and Modern design, Arrive comfortably. There will be myriad collection of wines in various categories which will leave the visitors spoilt for choice etc. in the Wine & Spirits industry. The specialized trade on board the Weinschiffe was able to benefit from the growing demand for competent advice and high-quality wines. Information Source: Expovina | expotobi

Sechseläuten (Sechseläuten) is an annual traditional spring celebration in Zurich, Switzerland, usually held on the third Monday of April. This festival marks the end of winter and the arrival of spring, and its history can be traced back to the 16th century. The core activity of the Sechseläuten is the burning of a snowman figure called "Böögg", which symbolizes winter. Böögg is placed on a pile of firewood and, after being lit, the time it takes for the snowman's head to explode is considered a traditional way of predicting the upcoming summer weather: the faster it burns, the better the summer will be. On the day of the festival, members of various guilds in Zurich dress in traditional costumes and participate in a grand parade that starts from the city center and eventually reaches the site of the burning of Böögg. In addition, the festival is accompanied by music, dance and rich food, and is an excellent opportunity to experience Zurich's culture and history.

The EarthKeepers Club is a program that focuses on serving, reflecting on, and learning about the natural world. It is a space for youth (ages 12-16) to connect with others their age that have similar interests in the environment and conservation. Through this program, we aim to make a tangible impact and have fun along the way! The EarthKeepers Club currently has no cost to join and runs from April-November, on the second Saturday of each month. We are able to offer 3 volunteer hours for high school students that participate in a program day. We are excited to welcome you to the EarthKeepers Club whether it is your first time or you have been many times before! If this interests you or if you have any questions about our programming, please reach out to cedar.haven@arocha.ca . Information Source: A Rocha Canada | eventbrite

The STONE WORLDS is the International mineral trade show brings together Around 45 exhibitors offer their most beautiful gemstones, minerals, crystals, rough stones, jewelry, healing stones, fossils and other stone works The STONE WORLDS is the International mineral trade show brings together Around 45 exhibitors offer their most beautiful gemstones, minerals, crystals, rough stones, jewelry, healing stones, fossils and other stone works. Information Source: Kurt Worni | expotobi

Architect@Work Switzerland 2025 is a two-day event that will be held at the prestigious Zurich Exhibition Hall in Zürich, Switzerland. This highly anticipated event showcases a wide range of innovative and cutting-edge building systems, as well as interior design and construction services that are essential for any architectural project. From building carcasses to interior finishing, roof construction to lighting systems, attendees will have the opportunity to explore and discover the latest advancements in the industry. The event also features exhibitors specializing in sanitary ware, air and water tightening services, and roof covering services, providing a comprehensive platform for professionals to network and stay up-to-date with the latest trends and technologies. Architect@Work Switzerland 2025 is a must-attend event for architects, designers, and industry experts who are looking to enhance their knowledge and expand their professional network. Mark your calendars for May 7th to May 8th, 2025, and join us at the Zurich Exhibition Hall to experience this exceptional event firsthand.

Born in New York in 1956, Cathy Josefowitz spent her childhood and adolescence in Geneva, Switzerland. The artist’s lifelong fascination with the bodily experience was sparked in part by her study of stage design at the Théâtre National de Strasbourg from 1972 – 1973. After attending the École Nationale Supérieure des Beaux-Arts in Paris from 1973 – 1978, Josefowitz studied performing arts and new dance at the renowned Dartington College of Arts in Devon, England from 1979 to 1983 and later choreography at the SNND School for New Dance Development, Amsterdam from 1987 – 1988. During her time in England, Josefowitz became involved in political activism, taking part in demonstrations, marches and conferences supporting both the feminist movement and the gay and lesbian liberation movement. Mirroring the increase in her engagement in political activism and feminism, Josefowitz’s art intensified its representation of female sensation and feeling. The presentation takes its title from Josefowitz’s choreographic piece ‘Release’ (1988), a performance replete with fluid movements that is projected on the wall of the gallery. Drawing on the Anatomical Release technique pioneered by dance teacher and choreographer Mary Fulkerson, Josefowitz falls, twists and rolls in order to let go of tension and cultivate creativity, liberating her body and mind. This feeling of liberation is translated into her later works through the gradual shift from figuration to abstraction. Her relentless and personal quest for expression unites the various works on view in Zurich, with some exhibiting elements of self-portraiture. Josefowitz’s exploration of the corporeal manifests in works from the 1970s that are filled with figures, predominately female, reclining or in varying states of repose. Her oils on cardboard, such as ‘Untitled’ (ca. 1974), are characterised by colourful backgrounds portraying domestic interiors, influenced by the artist’s exploration of stage design. The unnaturalistic colour and vivid brushstrokes of this period, particularly apparent in Josefowitz’s gouches on paper, recall the work of fauvists Henri Matisse and André Derain, who rejected three-dimensionality in their painting practice. Similarly, Josefowitz flattens the body by using a black contour line upon the solid color plane to portray the profile of the nude figure; yet, Josefowitz challenges the traditional depiction of the reclining nude through her female gaze and contemporary position. The simplification of the subjects’ form makes the work appear abstract and demonstrates the ever-evolving nature of her practice. These paintings are complemented by figurative works from the early 1990s in which Josefowitz’s visual language enters a new phase, revealing a different way of working with the body through a shift in pattern, style and form. Using various combinations of oil, gouache, charcoal, pastel or chalk, the artist’s biomorphic subjects reached a new level of simplification, becoming indistinguishable from the chairs on which they rest. ‘Untitled’ (1993) exemplifies this movement towards a more non-representational style, achieved by a focus on shape of the figure and bold planes of color. Releasing her subjects from historic depictions of the female body, Josefowitz reveals a unique awareness of and sensitivity to the physical forms of the self. The backgrounds of the works have also entered a transformation, characterised by geometric patterns and curvilinear forms, resulting in the isolation of the figure in space. This development is also charted in her series of watercolour paintings on receipts (1988 – 1992) exploring the female nude on a more intimate scale. A travelogue of her trip from Parma to Vienna in the summer of 1988, these works exhibit elements of autobiography. Using watercolor and ink, the contorted limbs and fluid brushstrokes in ‘Le Vieux Bistrot - Paris’ (1991) evoke Josefowitz’s flexible movements in ‘Release,’ whilst the checkered background of ‘Trattoria dall’Amelia – Mestre’ (1992) alludes to her stylized domestic interiors from the 1970s and geometric patterns from the 1990s. The figurative realm soon gave way to increasing abstraction with Josefowitz’s Prayers series (1998 – 2001). Depicting prayer shawls and mats, the artist uses a freedom of expression beyond the constraints of the figurative and the abstract. Often named after family members or a place she loved, such as ‘Parme’ (c 2001) or ‘Patisserie Égyptienne’ (1999), these large-format paintings see Josefowitz using a reduced color palette. These are placed in tandem with the similarly monumental Venus series (2004 – 2006). Josefowitz became increasingly engaged in the physicality of creation, intersecting her performative and pictorial practices by working on the floor of her studio instead of the wall. For these works, the artist placed fabric on the canvas in a dynamic position and traced around it; the resulting abstracted forms, painted in blocks of colour, express the body’s presence and represent self-portraits. The freedom and movement of these forms are juxtaposed with depictions of static reclining nudes that revist tropes of womanhood from classicism, referenced through titles such as ‘D’après I’Olympia de Manet’ (2004 – 2005) and ‘D’Après la Vénus de Titien’ (2004 – 2006). Harking back to her work of the 1970s that challenged the traditional male gaze of art history, the Venus series articulates the different configurations a human body can take as a form of both resilience and liberation. In surveying the development and revisitations of the artist’s visual language, this exhibition attests to Josefowitz’s enduring determination to depict the figure in both its anatomical and metaphysical dimensions.

His photographs demonstrate an innate understanding of how forms, colours, textures and depth translate to the pictorial plane. He is working with a visual vocabulary that has been well established by the work of many contemporary photographers. Mizutani’s work serves as a good gauge of the visual tropes and photographic styles that are prevalent among young photographers in Japan. Yoshinori Mizutani lives and works in Tokyo. Mizutani graduated from the Tokyo College of Photography in 2012. He has won a number of prestigious awards including Japan Photo Award in 2013 as well as Foam Talent Call and Lens Culture Emerging Talents Top 50 in 2014. Since 2012 he has exhibited in many international institutions in Japan, China, Belgium, Great Britain, Italy, and Switzerland, and has published, among others, ‘Tokyo Parrots’, Colors’, ‘Yusurika’ and ‘Hanon’.

Attersee’s independent trailblazing creative attitude passed through the modes of Viennese Actionism, Fluxus, international Pop and Dada in order to subvert them with virtuosic technique and imaginative and humorous invention always with an eye to the themes of consumption, love, male beauty and food. This exhibition at Galerie Gmurzynska follows his celebrated reemergence in New York after two solo exhibitions there last year as well as the 2023 Los Angeles restaging of the 1987 artist’s carnival “Luna Luna,” featuring Attersee’s – also a champion sailor – boat swing ride. 1940 born in Bratislava, Slovakia, Attersee's artistic journey began during his youth when he moved to Austria near Linz and began writing novels, composing music, and creating comics at Lake Attersee 1966 Christian Ludwig Attersee adopts his iconic surname ATTERSEE after the lake 1966 first solo show in Berlin is followed by exhibitions at the avant-garde Galerie nächst St. Stephan in Vienna and Galerie Bruno Bischofberger in Zürich 1977 representation at documenta 6 in Kassel 1981 exhibition at the Royal Academy, London 1986 exhibition at the Stedelijk Museum Amsterdam and the Nationalgalerie in Berlin, curated by Rudi Fuchs 1984 representation of Austria at the Venice Biennale, organized by Hans Hollein 1987 Attersee, Joseph Beuys, Georg Baselitz, Jean-Michel Basquiat, Salvador Dali, Keith Haring, David Hockney, Rebecca Horn, Roy Lichtenstein and Jean Tinguely participate in “Luna Luna” carnival by Andre Heller 1997 exhibition at the Albertina in Vienna 2005 design of the stage set for Stravinsky’s “Petrushka” at the State Opera in Vienna 2008 direction of the opera “Salome” by Richard Strauss in Bremen 2019 major retrospective at the Belvedere 21 in Vienna The lasting impact of Attersee on contemporary art can be summed up by contemporary star Jamian Juliano-Villani proclaiming: “He is a genius. We have decided he is more advanced than us.” This exhibition is accompanied by a fully illustrated monographic catalogue published by Kunstforum Wien with contributions from Max Hollein, Ingried Brugger, Daniela Gregori and Rainer Metzger.

Galerie Gmurzynska announces a career-spanning solo exhibition of the legendary Austrian artist, Christian Ludwig Attersee in both of its Zürich spaces. The exhibition brings together paintings and sculptures from 1960s through his most recent genre-defying paintings of today. Attersee’s independent trailblazing creative attitude passed through the modes of Viennese Actionism, Fluxus, international Pop and Dada in order to subvert them with virtuosic technique and imaginative and humorous invention always with an eye to the themes of consumption, love, male beauty and food. This exhibition at Galerie Gmurzynska follows his celebrated reemergence in New York after two solo exhibitions there last year as well as the 2023 Los Angeles restaging of the 1987 artist’s carnival “Luna Luna,” featuring Attersee’s – also a champion sailor – boat swing ride. 1940 born in Bratislava, Slovakia, Attersee’s artistic journey began during his youth when he moved to Austria near Linz and began writing novels, composing music, and creating comics at Lake Attersee • 1966 Christian Ludwig Attersee adopts his iconic surname ATTERSEE after the lake • 1966 first solo show in Berlin is followed by exhibitions at the avant-garde Galerie nächst St. Stephan in Vienna and Galerie Bruno Bischofberger in Zürich • 1977 representation at documenta 6 in Kassel • 1981 exhibition at the Royal Academy, London • 1986 exhibition at the Stedelijk Museum Amsterdam and the Nationalgalerie in Berlin, curated by Rudi Fuchs • 1984 representation of Austria at the Venice Biennale, organized by Hans Hollein • 1987 Attersee, Joseph Beuys, Georg Baselitz, Jean-Michel Basquiat, Salvador Dali, Keith Haring, David Hockney, Rebecca Horn, Roy Lichtenstein and Jean Tinguely participate in “Luna Luna” carnival by Andre Heller • 1997 exhibition at the Albertina in Vienna • 2005 design of the stage set for Stravinsky’s “Petrushka” at the State Opera in Vienna • 2008 direction of the opera “Salome” by Richard Strauss in Bremen • 2019 major retrospective at the Belvedere 21 in Vienna The lasting impact of Attersee on contemporary art can be summed up by contemporary star Jamian JulianoVillani proclaiming: “He is a genius. We have decided he is more advanced than us.” This exhibition is accompanied by a fully illustrated monographic catalogue published by Kunstforum Wien with contributions from Max Hollein, Ingried Brugger, Daniela Gregori and Rainer Metzger.

For Luigi Ghirri the phrase encloses many of the meanings and motivations that have always accompanied his work. The exhibition encompasses a precious selection of photographs spanning multiple series by the artist, the earliest of which is from 1974: the most recent from 1990: . Walking the streets of Modena, the small town where the artist had lived since the early 1970s, or driving around the surrounding countryside; Ghirri was interested in capturing Italian life and landscape in its various articulations: piazzas, facades of ordinary houses and ruins; their doors, windows, wall colors, tiles; in short – parts of the everyday – which, to him, precisely because they appeared so anonymous and forlorn at times, seemed to be waiting for someone to give them an identity. In his quest, Ghirri visited many popular places such as urban parks or seaside resorts – a fairground in Modena, Capri, an island in the Tyrrhenian Sea, as well as many beaches along the Adriatic coast. Ghirri's formative years as a topographer brought an essential quality in terms of scale and measurement to his photographic work, a subtle interplay between the immediate, the intermediate and the infinite, that raised the question of what photography stands for when it's not about focusing, the essential decision about what is part of the picture and what is not. Views of views, snippets within snippets, pictures within pictures. Through time, Ghirri became increasingly concerned with this dual reality. Putting us face to face with the reality of familiar environments, that which our eyes encounter, and seeing it with the astonishment of those viewing it for the first time. Ghirri’s view is a complex one, telling the tale of a remaining world that does not elude him. While apparently recording the visible, Luigi Ghirri’s photographs – from the conceptual to ‘magic realism’ – reveal a plurality of languages. This perhaps stems from an ingenuous desire for a return to a state of purity, a ground zero of vision that challenges and suggests a new way for us to read and interpret everything we encounter. Born in Scandiano in 1943, Luigi Ghirri spent his working life in the Emilia Romagna region, where he produced one of the most layered bodies of work – marking the start of something entirely new in the history of photography and the visual culture. Luigi Ghirri was at the height of his career when he passed away in 1992. To this day, his photographs are exhibited extensively both in Italy and abroad. Some of the most notable museum exhibitions in recent years were held at the Castello di Rivoli in Turin (2012), the MAXXI Museum in Rome (2013), and the Instituto Moreira Salles in São Paulo and Rio de Janeiro (2013). In 2018 the first major retrospective of his work outside of Italy opened at the Museum Folkwang in Essen and later traveled to the Museo Reina Sofía in Madrid and the Jeu de Paume in Paris. Luigi Ghirri’s work can also be found in many public collections: The Museum of Modern Art, New York, the Stedelijk Museum, Amsterdam, the Museum of Photography at the University of Parma, the Musée Reattu of Arles as well as the Fotomuseum, Winterthur. For autumn 2024 a retrospective of his work is planned at the MASI Lugano.

Nielsen is known for hybrid paintings and applies latex, leather, silk, and screen-print, which reveal a complex and unexpected dimension to her unique compositions. The works contain a multitude of successive and immersive layers and fictional landscapes. The ‘photo–painter–-artist’ takes photographs of random places and draws from family archives - they are her sources of inspiration and her iconography. The landscapes also inspired two new wallpapers created for the exhibition. The slayers often overlap and create ambiguity about the production process. This mental and technical ambiguity is according to Nielsen the primary path of allowing the viewer to decipher the work. Any viewer who immerses in the landscape experiences distinct colors, light, sound, and scent, which immediately weave a complex network of memories. The series (170 x 120 cm) is the first in which the brush or paint does not have an impact. Karst is a geomorphological structure resulting from the hydro-chemical and hydraulic erosion of soluble rocks. The works were made with scraps of leather from the Roux tannery, with which Nielsen is collaborating as part of her residency at LVMH in 2021. The artist enthusiastically assembled the cuts made by this particular tannery. The random shapes, sewn together by the artisans (from Mains d’oeuvre), create puzzle-like landscapes that are reminiscent of the way rocks clump together. On the sturdy leather Nielsen deploys printed organza sails which act like an illusion making houses appear as if they were on the edge of a cliff. Silk and leather are materials with almost contradictory properties and the cutouts underline this contrast. Something seems both solid, immutable (leather) and fragile, unexpected, elusive (silk). In the artist’s landscapes, the concept of cropping and cutting out the horizon and redefining the environment are structuring elements. Their motifs are constant elements and serve as catalysts to create a contradiction, a tension between the printed trace and the pictorial gesture. The direct experience of the horizon is rare, made even more laborious in urban areas where obstacles to the view, made of steel frames and grilles, sabotage the experience. This is particularly apparent in and (230 x 190 cm each). During her stay in Arles, the artist was captivated by these ornate, vernacular grids. These radial, net-like motifs serve as a filter between the landscape and the viewer, blocked or fragmenting their vision. The Camargue provides a horizontal territory and the disruptive, geometric property of these grids allowed the artist to apply the format of the canvas like a window. It creates a tangible frontier between the corporeality of the observer and the reality of the landscape. (200 x 250 cm, ascian: one that has no shadow. specifically: an inhabitant of the torrid zone where the sun is vertical at noon for a few days every year.), is a utopian vision which is part of Nielsen's research exhibited among others at the Lyon Biennale in 2022. Two fragmentary structures inspired by architecture, indicated by their rocky color, seem to float on a panoramic view at a time at which we do not know if it marks the beginning or the end of the day. These tunnels or underground water conduits that are in the foreground and the black and white screen prints are applied to the bare canvas in both and . The paint is placed on the surface, between masking tapes covering the screen-printed elements. In successive layers, the work is only revealed in its ultimate proposition once the ribbons are removed, usually in a radical motion. These arrangements act by creating an appearance, almost like a mirage, both for the painter, who only discovers the final result at the end, and the viewer is potentially disturbed by these retinal expectations. According to Nielsen, “talking about houses, architecture, landscapes is talking about humans. Moreover, this is only talking about human beings as we are linked to the ecosystem that we interpret, shape, destroy, fantasize about. Our worlds are inhabited by our desires. Habitat, shelter, and construction are linked to this projection”. The series consecrates marsh cabins as spaces of passage, border zones, limbos between land and sea. Shifting territories, whose soaked or cracked soils offer unprecedented effects of textures and reliefs, they inspire the artist to come and deploy the motif of a crumpled mosquito net screen-printed on the canvas or paper depending. This gauze is an additional frame that further blurs the gaze and ultimately embodies the ambiguity of these uncertain and enigmatic landscapes. To Nielsen, the landscape is never neutral. Space, sedimented, is made up of multiple strata; they are all at the same time and simultaneously, geological, political, and social. They are superimposed on the landscape at the same time as they make up its complexity. Accordingly, our experience of the landscape is never neutral. For (80 x 60 cm) and (73 x 55 cm) Nielsen borrows female silhouettes from the family photographic archives. Ink and acrylic are first applied on the canvas. The screen printing follows in a second step to screen the image and creates a grid that prevents the gaze and the gaps between which to observe. Then the printed silk organza is deposited as a transparent veil, a film, a plasma, or an organic hologram. The process is the same for and , in which cabins in the background were photographed in the Camargue on the edges of the marshes. The use of silk makes this admitted ambiguity of the images much more concrete. The lamination mirrors them and offers a unique visual experience, everything appears to be moving and transitioning depending on the point of view adopted by the viewer. Silk is also a distant relative of silkscreen, with which it has a historical link since it was the material originally used to transfer images. Between appearance and disappearance, the experience of this slow fragmented perception is sensitive, impactful, and almost spiritual. In this regard, and (180 x 130 cm each) offer a more disruptive experience. The oil is deposited in gradients, according to the classic sfumato technique. Printed latex is stretched over the background. The work appears like skin heated by the sun, incandescent. The viewer almost feels the warmth of the strange but seductive territories of the Camargue radiating. The very title of this series is rooted in the technique of the underlying photography. Nielsen, as an alchemist accumulates views, superimposes them, adds them, lets them contradict each other, and lets them develop, to finally restore something that echoes the sublime. According to Burke writes about a "terror delicious”: it is the intense feeling of being alive in a landscape that is also alive. The artist translates the experience of life into plural visual propositions. She reveals her obsession with a fragmentary vision and a fragmented, insoluble, imperfect, captivating relationship with the world we experience. To the viewer, the journey is as physical as it is conceptual and their relationship to Nielsen’s work seems to be in its depth and counter-form, to be of an existentialist nature. Eva Nielsen’s work has been exhibited in the following public institutions: Mac/Val, France; LACE, Los Angeles; Plataforma Revolver, Portugal; BNKR, Munich; Perm Museum, Russia; Kunsthal Charlottenborg, Denmark and Palais Pisztory, Bratislava among others. In 2009, she was awarded the Prix des Amis des Beaux-Arts Prize and in 2014 the Art Collector Prize (both in France). Her work is featured in numerous public and private collections including: the Mac/Val, the Musée de Rochechouart, the Musée des Beaux-arts de Paris, The Fiminco Fondation, The Société Générale Collection, the FMAC, the FRAC Auvergne, the Fondation Schneider, the Emerige Collection (all in France), as well as in the MOCA, Los Angeles, USA and the Fondation Thalie, Belgium. In 2021, Eva Nielsen was the laureate of the LVMH Métiers d'Arts prize. In 2022, she was nominated for the 23rd Fondation Pernod Ricard Prize "Horizones" and participated in the 16th Lyon Biennale of Contemporary Art: Manifesto of Fragility in Lyon, France. In 2023, she is the laureate with Marianne Derrien of the BMW Art Makers Prize with the Insolare Project, exhibited in Les Rencontres d’Arles in 2023.

Isabel Nuño de Buen's works appear like enigmatic relics from an unknown civilization. Their material composition and sculptural versatility convey a complex system of references, weaving motifs from the present as well as the past into poetic allusions that pivot around the artist’s personal disposition and the complexities of human experience. For her first solo exhibition at Mai 36 Galerie, Isabel Nuño de Buen (*1985, Mexico City, lives and works in Hannover) presents a selection of six unique reliefs from her ongoing series as well as two large-scale wall pieces that she personally likes to refer to as drawings. As a whole, these works provide us with a fascinating insight into her artistic journey. Besides the fluctuating, ever-evolving process of creation, it is the hybrid nature of a work of art that interests Isabel Nuño de Buen. Presented in the style of a wall tapestry, her work originates from numerous drawings that the artist executed on tracing paper, using charcoal, graphite, and watercolor. Subsequently the drawings were torn, cut, and reconfigured, until patched and sewn together into a fragmented three-dimensional wall piece, distinguished by its textural diversity and extraordinary materiality. Uniting bold imagery and organic depictions, the piece itself resembles a fragment of something larger, like a surviving piece of a historical artifact or manuscript. Characterized by gaping voids that defy clear topographical identification, the work carries a metaphorical potential and timelessness. It appeals to a transhistorical and -cultural view of human creativity in which practices like drawing and sewing are ancient art forms, which at different moments in history served to preserve knowledge and experience. Isabel Nuño de Buen’s intricately crafted are evocative and mysterious wall reliefs that remain open to speculation. It is possible to find formal connections between her work and these reliefs. Not only do they allude to the fragments and drawings at play in , but are similarly articulated by layers of materials that here pile on top of each other: papier maché armatures, segments of glazed ceramics and dyed textiles, including documents or small letters as well as drawings on transparent paper. Tied together with hand-made yarn, string or gauze, they appear like little outlandish gifts or ancient talismans. Indecipherable yet complete, these diffuse formations display a determination and precision in their form and material sensitivity, paralleled only by their intent to encode. They invite close observation but, as fragments, refuse complete clarification. With her distinctive blend of traditional techniques and innovative conceptual approaches, Nuño de Buen's work has garnered critical acclaim for its depth, complexity, and emotional resonance. With its many possible meanings, it dances around the edges of our comprehension, much like former civilizations that exist on the threshold of our understanding, yet somehow remain beyond our grasp. Isabel Nuño de Buen was born in Mexico City in 1985. She completed her studies at the HBK Braunschweig under Bogomir Ecker in 2014. In 2020 she received the Sprengel Prize from Sprengel Museum Hannover. Her works have been featured in galleries, museums and private collections across the globe. Most recently, she has had solo exhibitions at the Kunstverein Hannover, Chris Sharp Gallery LA and Sprengel Museum Hannover. In 2024, she will have a solo exhibition at ICA, Milano.⁠

Harrison is known for his clear block “encapsulations” of found African artifacts that scrutinize and bring a lens to the ineradicable effects of racism and colonialization. With rigorous technical methods, Harrison enshrines the found objects, such as African wooden sculptures and bone, in acrylic resin, plexiglass, and industrial modeling clay that he then sculpts using computer numerical control (CNC) machines. Harrison has also used these manufacturing techniques to encase recent artifacts of the American working class, speaking to labor and inequality, the politics of mass production, and anthropology. Matthew Angelo Harrison was born in 1989 in Detroit, MI, US, where he lives and works. Harrison’s solo exhibition Robota was presented at MIT List Visual Arts Center, Cambridge, MA, US (2022). Furthermore, he has been the subject of solo exhibitions at and SCAD Museum of Art, Savannah, GA, US (2022); Kunsthalle Basel, Basel, CH (2021); Broad Art Museum, Michigan State University, East Lansing, MI, US (2018); Atlanta Contemporary, Atlanta, GA, US (2017); and Museum of Contemporary Art Detroit, Detroit, MI, US (2016).

Mark your calendars, folks! All about Automation in Zurich 2024 is gearing up to be the talk of the town. Set to take place at the Zurich exhibition, nestled in the heart of Switzerland's bustling metropolis, this event promises to be a game-changer in the world of automation. From August 28th to 29th, 2024, industry professionals and enthusiasts alike will converge to explore the latest innovations and trends shaping the future of automation. With a lineup of expert speakers, cutting-edge exhibitors, and interactive workshops, attendees are in for a real treat. Whether one is a seasoned pro or just dipping their toes into the automation waters, this event is not to be missed. So, save the date and get ready to be wowed by the wonders of automation in the charming city of Zurich.

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