Vernissage: 2. April ab 19.00
Ausstellung: 2. – 22. April

“A Lovers’ Bath”

Finissage: 23. April ab 19.30
Performance: 23. April um 20.30

„— There is a tendency I have, I want to please you. In fact, I oscillate quite often between my own pleasure and yours. I wonder: How to negotiate boundaries and politics i overstep in this delicate relation created through my own pleasure and desire.“

In her drawing series please the performing artist Natascha Moschini investigates concepts of pleasure and pleasing within her own bodily practice. She develops figures that explore expectations, social tenseness and gaze regimes. They play with ambiguities that are inherent in the word please and trace internalized violence throughout the relationship towards their own body.


“Brennpunkte und Ordnungen einer Erfahrung. Resultierende Programme: trennen, mischen, kleiden — erneut trennen. Mit sich, miteinander — in unregelmässigen Abständen. Befeuchten und trocknen — täglich.

A Lovers’ Bath ist der Versuch, auf eine körperliche Technik hin zu untersuchen, was es bedeutet, sich und anderen Lust und Leid zu bereiten. Natascha Moschini und Marie Popall greifen über somatische Verfahren auf private Erfahrungssequenzen zu und fragen: Was macht man mit sich? Wie macht man das mit sich? Und wie macht man es vor und mit dem anderen? Man stellt sich einander vor. Man badet in einem Teppich aus grauem Plastik. Man schaut sich dabei zu. In der Mitte der Bühne: ein weisser Kühlschrank. Man setzt und stellt sich neben ihn. Man steigt übereinander auf ihn. Druck von Körpergewicht. Faltung der schwarzen Jeans in der Hüftbeuge. Dazu ein Song und ein Tanz. Man singt mit: „Uh. You are so dirty. Uh…“ Moschini/Popall behaupten anhand einer Abhandlung über Körper in a Lovers` Bath eine sinnliche Technik und erkunden die Stimulation durch Routine.“


Cabinet de regard: MicroItalics

Vernissage 15. February, from 19.00h
Exhibition 15.  – 28. February


Microcollection Museum was founded in May 1990 by the Italian artist Elisa Bollazzi during her visit to the British Pavilion at the Venice Biennale.

Almost by chance Bollazzi picked up a few fragments that had accidentally fallen onto the floor from a work by Anish Kapoor. These “microparticles”, overlooked by everyone else, represented the intuition of a new form of creation. From then on the search was for new “micro-acquisitions”.

The collection nowadays counts hundreds art-particles that can be viewed under a microscope.

Since Microcollection Museum was opened, several artists and collectors have donated micro-fragments of contemporary artworks and actively contributed to the development of the Museum.

Works by artists like Joseph Beuys, Daniel Buren, Tony Cragg or Richard Long and major Italian artists like Alberto Burri, Piero Gilardi, Aldo Mondino, Giuseppe Penone, Giulio Paolini, and many others, are present in the collection.




Installation: 21 – 27. Januar
Performance: 21. Januar 19.00 Uhr



Curatorial talk and an infiltration of the platform blind_spot by Ivan Isaev

11 Januar from 19.00 h

We wish you a happy start in a new year and welcome you to slowly enter 2019! In a sleepy January hole (Januarloch) we are inviting you to the infiltration of a platform blind_spot initiated by Ivan Isaev, to speak about weakness, insomnia, fatigue and the use of faintness.


is a short term, soft and powerless institution that aims to develop the values of passivity, weakness, subtlety and deceleration through the means of contemporary art, cultural collectivism, mumblecore modality and alternative economical relations.


An independent curator (*1986) based in Moscow, currently curator-in-residency from Pro Helvetia at the Ausstellungsraum Klingental and Atelier Mondial, Basel.
Initiator of platform blind_spot.
Co-founder of «Triangle» curatorial studio (Moscow, 2014-2016).
Participant of Infra-Curatorial Platform in 11th Shanghai Biennale (2016).
Curator of project Start, Winzavod, season 2014-15, and “Leaving Tomorrow” exhibition (2015, Moscow). Member of ICI (Independent Curators International).

More on platform blind_spot:


Vernissage: 30 October, 19.00
Exhibition: 30 October – 1 December


The show is an outcome of the curious clash of two different artistic practices and approaches which found their common ground during a residency in Bern (

Ustina Yakovleva’s delicate semi-abstract graphics and fabric objects evoke an image of the pre-human organic world. This realm is crossing over into the post-human digital landscape created by German Lavrovksy. Pre and post merge at the meeting point of here and now.


“Large part of my practice is constituted by graphic works which consist of identical individual strokes which grow into abstract forms. It is a kind of automatic writing which binds the time into the material form. Works in other media have the similar principle – embroideries which evolve into forms often unpredictable for me, beads and thread sculptures reminding continents or icebergs, or possibly electronic circuits rooted in empty air. Some projects I develop are figurative and represent imagined or real landscapes, there various techniques allow to reveal the peculiarities and variativeness of the same landscape, depending on objective and subjective factors. I create works without sketches, as I am interested in self-forming composition as part of the creation process; drawing develops as a living organism, taking new forms throughout the work. Individual elements construct larger structures, like the atoms and cells construct the objects around us” (Ustina Yakovleva).


Artistic practices of German Lavrovsky refer to philosophical speculations that emerge as regard to boundaries of anthropocentric picture of the world. Gender, physicality, sexuality undergo repeated diffusion and reconstruction in ephemeral digital space of his works. Finding specific plasticity and non-permanence, the characters of German’s works reflect insights about possible models for new identities. Subjectivity is burst forth from an individual and is distributed between threads and connections, in which desires, machine codes, neural networks, body parts, polygons and algorithms, visual effects and fragments of human memory participate. An important conceptual element of German’s art is work with conception of surface. Every thing is a tool for broadcasting and transmitting data. The surface does not hide anything, but on the contrary – this is the place where interpenetrations and connections occur. A vivid example of such logic is the image of the body-screen, which is often found in the works of German.


An Adventure in the third Dimension


24. September – 5. Oktober 2018

24. September, ab 19.00 Uhr

Butler stammt ursprünglich aus Orange County in Los Angeles, ist Grafiker, Musiker und Siebdrucker. Er lebt seit 25 Jahren in Bern, arbeitet an unzähligen Musikprojekten, betreibt sein eigenes Siebdruckatelier und experimentiert fleissig mit allen möglichen Medien. Aktuell “spielt” er mit Techniken zur Erzeugung von 3D-Effekten und druckt seine Entwürfe sowohl auf Leinwand wie auch auf feste Gegenstände. Durch Drehung erzeugte Fokusverschiebungen schaffen eine Lebendigkeit wie sie Butler mit Vorliebe auch seiner Musik verleiht.


Erster Teil der Ausstellungs Trilogie Umwerfer I-III.
Skulpturen aus Fiberglas.


15. August – 16. September 2018

Remy Erismann is working with the topic of high-tech research and development within cutting-edge sports. His work is especially inspired by the reduced forms of the designs, the materials used, and the moment where performance and aesthetics come together. Such high-tech products are the starting point for his artistic work.

The core of his current studio work is the derivation of sculptures from a multi-step casting or mold making process, consisting of a positive, a negative and a final shape. He investigates all these states for their sculptural potential. Through a kind of reverse engineering, he appropriates the shapes, builds the selected objects by hand and counters the high-tech process with a low-tech one. The more definitive the process the more self-referential it becomes. Eventually the topic takes a back seat as the work becomes more formal and a new terminology comes into play. The function of the elements turns into a pseudo function and the individual objects are no longer readable as high-tech.

Grenze des Systems
Dialog No. 4

30. Juni – 12. August



Ilya Fedotov-Fedorov was born in 1988. He currently lives and works in Moscow. Ilya Fedotov-Fedorov studied genetics (bioengineering), philology and art in Moscow. 

The main motif of Fedotov-Fedorov’s art is the use of natural scientific knowledge. The artist adopts its main characteristics: the depiction of biological processes and forms from the cell to the habitat, linguistic features and ways of presenting knowledge (formulas, drawings, and so on), methodological principles and types of representation (entomological collections, card catalogues). With their help, he reveals the subjective nature of the acquisition of knowledge and its dependence on individual experience. He shows that we perceive and describe the surrounding world in accordance with the language we use.


Julia Joswig is a biologist and geographer by training and now working at the Max Planck Institute for Biogeochemistry in Jena, Germany in the field of functional ecology. More specifically she touches on the characteristics of global plant form and function.

The aim of her recent study was to quantify environmental drivers’ influence on global plant function. This simplification of plant- environment interaction will hopefully ameliorate global vegetation – atmosphere models but might also allow predictions about plant function with global change.


“We are presenting our idea of how nature regains ground on the man-made land of plastic, which floats with the size of a country in the Pacific, the so-called “Great Pacific Garbage Patch”.

In our discussions we brought together the fascination about form and function of plants and shaped it into a positive vision about the future. We imagined how natural processes might lead to the evolution of plants, that digest the unwanted and deadly remains of humans: Plastic”.

More details on


11. Juni – 29. Juni 2018

Präsentation einer Videoarbeit & Artist’s Talk
25. Juni ab 19.00 Uhr


The video explores the laboratories and archives of Swiss Cinematheque “Lichtspiel”. A silent observers looks at details of machines and images from the history of cinema.
The titles echoes the original german expression used to describe cinema, a fascinating illusion created by light and movements. The images are accompanied by abstract from Deleuze “L’image mouvement”.


Artist and Researcher. Lives and Works in London.
She took part at residency programs in Italy, Spain, Switzerland, Scotland, Estonia,
among the others at Atelier, Fondazione Bevilacqua la Masa (2014, Venice, IT), Dolomiti Contemporanee – Terraformazione 2015(IT)
VIR, ViaFarini in Residence 2016 (Milano, IT)
and in 2014 Atelier, Fondazione Bevilacqua la Masa (Venice, IT),- 2014 Internationale Sommerakademie fur Blidende Kunst
(Austria), Artist Resiency TartuAir (EE) financed by Moving’Up funding scheme, Hospitalfields Contemporary Art Center (Scotland, UK),
Fondation Botin (Santander, Spain)

Her work has been exhibited in international venues in Venice, London, Madrid, Moscow, Trondheim,
Santander, Salzburg, in institutions such as Karlsruhe Kunsthalle, Fondation Francois Schneider, Fondation
Botin, Fondation Bevilacqua La Masa, Fondation Francesco Fabbri, Venice Architecture Biennale
and Moscow Biennale for Young Art. Her research to date mainly focuses on cultural visual
tropes and traditions, on the contingency of the artistic process and its multiple outcomes, exploring
themes such as the appropriation of artworks and the delegation of authorship, the impact of digital
imagery on our way of seeing and making images, the evocation of an absent or dematerialised
body, the concepts of duration and dormancy, memetics and the generative processes of memory
(as personal and collective history).


“The brain, as an object, has been elevated to the pinnacle of investigation and production in science and art, respectively.
An aura of omnipotent explanatory momentum seems to be surrounding this organ fostering its solid status as THE object of awwq at the center of attention in science, society and the arts – the last frontier and the final code to crack.

Starting from a confrontational premise, artist and scientist soon overthrew the limiting dichotomies and embraced a systemic perspective of the embedded organ fusing a range of views from the traditional Yellow Emperor’s philosophy to modern neuroscientific insights of the bi-directional brain-gut axis.
the brain-object is examined from different angles probing its real works, status and potency.

The object cult is revised while the culture producing brain-object is contemplating itself through self-reflection: brain signals are derived, relayed, mapped to the senses – experiences are petrified, quests documented and epistemic moments sparked”.


A sense of the enchanting absurdity of human nature runs throughout Yutie Lee’s practice. Whether it takes the form of delighting in the apparent incommensurability of cultural rituals or mirth at the various levels of miscommunication engendered in cosmopolitan exchanges, Lee’s combination of tightly-scripted and open-ended elements within all her works evokes a form of modern-day commedia dell’arte.
2015 Diplom, Meisterschülerin of Olaf Nicolai an der Akademie der Bildenden Künste München
Upcoming solo show in Kunstverein Göttingen /DE (03.08 – 16.09.2018)
Yutie Lee lives and works in Munich and Taipei


studied neuropsychology, linguistics and neuroinformatics and is currently working in auditory neuroscience on the topic of tinnitus. On the side, he is loosely affiliated with the computer music institute in Zurich performing transdisciplinary research. Besides his main research foci, his interests are in cultural and biological evolution, psychology and digital sound design. Furthermore, he considers himself a pre-digital native, an early crypto-anarchist and cyberpunk promoting open data science as well as individual freedom of expression.