Summe

„Where the Wind Blows" (2022) ist eine Dokumentation einer eintägigen Installation in einem Landhaus. Hundert weiße Laken verwandelten das alte Gebäude in ein verlassene Liegenschaft.

Der Stoff verbirgt die Beschaffenheit der Dinge und lässt nur Silhouetten und Konturen erkennen. Die Objekte, der Raum und das Licht stehen nunmehr im Mittelpunkt und werfen ein entferntes Echo von dem zurück, was man seinerzeit als ein Zuhause bezeichnet hätte.

Kurator: Pavel Kovalenko / Fotografie: Tasya Spector

Die aktuelle Installation von Asia Zaslavskaia in der ANNAHME BASEL wird mit freundlicher Unterstützung der pop/off/art gallery ermöglicht.

Vernissage: 07.06.2026 18-20 h

Dauer: 08.06.2026 – 05.07.2026

Artist talk: 14.06.2026 18 h

Finissage: 05.07.2026 10- 12h

EDITION/BASEL zeigt, was in zwölf Tagen gemeinsamen Druckens, Seite an Seite, entstehen kann.

EDITION/BASEL shows what can be created in twelve days of printing together, side by side.

Mit | With Caitlin Akers, Marti Baldinger, Mary Claire Becker, Sabina Blazkow, Kate Collyer, Hadass Gilboa, Stefanie Hintersteiner, Julia Lebrao Sendra, Kevin Maringer, Ryan McClelland, Marcie Miller Gross, Sofi Musoyan, Chelsea O'Byrne, Simone Thiele. Freie Interpretation | Free Interpretation: Elsbeth Gyger. Kuratiert durch | Curated by Megan Adie & Margarit Lehmann

Fr 10.7.26 | 19 h
Vernissage | Opening

Sa 13–19 h | So 11–17 h
Öffnungszeiten | Opening Hours

Following “analogien” (2013) and “cuttings” (2020), Bern-based artist Beat Feller (*1955) presents a selection of painted compositions.

Opening: Tuesday, June 16, 2026, 4:00–8:00 p.m. | During Art Basel: 10:00 a.m.–12:00 p.m. | 6:00–8:00 p.m.

June 16 – July 18, 2026

Friday, June 26, 4:00 p.m.–8:00 p.m. | Saturday, June 27, and July 18, 3:00 p.m.–6:00 p.m.

July 18, 3:00 p.m.–6:00 p.m.

beat-feller.ch
batifeller@bluewin.ch

【 REGION REWRITTEN 】

EXHIBITION:
Sat., June 27 – Fri., July 24

OPENING & READING:
Fri., June 26, 7:00 p.m.

In the “REWRITING REGION” workshop series, DOCK, in collaboration with Literaturhaus Basel, explored questions of regional identity. How is a region constituted when we take into account the complex interweaving of migration, memory, language, social relationships, and historical shifts? In that case, it can no longer be confined to a single geographical location but unfolds as a fluid entity. The stories we tell about “our” region, what becomes visible as a result, and who is rendered invisible—these and other topics were explored by the participants in the events.

Building on the writing workshops, participants had the opportunity to practice creative zine-making with the semi-anonymous queer collective Q.U.I.C.H.E. The collective is using this synergy as an opportunity to present the results of the event series—whether tangible or intangible—in an exhibition. The resulting texts, images, and fragments enter into a dialogue with exhibits that shed more light on the practices of the artists who inspired the project. The transformative process of writing is thus made visible in its uniquely personal form.

2026 – Making of Invitro No. 37 – Iactatio
“Iactatio” A Coin Toss for the Gods

Topics:
Sacrifice, Grace, Future, Meritocracy

Context:
Faith, Superstition, Classical Studies, Achievement as a Moral Foundation

Materials:
Gold and silver stamping ink, 3 stamps

References:

– “Gegen die Merokratie” (republik)

– “Das erschöpfte Selbst” Die moderne Gesellschaft ersetzt Gehorsam durch Selbstverwirklichungsdruck (Alain Ehrenberg)

– Uni Basel – “iactatio” (Ein Münzwurf für die Götter)

– Ren – “Money Game” (Official Music Video Part 3)

– “Grundeinkommen”

2026: EINVIERTELJAHRHUNDERT (A QUARTER OF A CENTURY)

Twenty-five years ago, in 2001, conceptual artist NIEL THALER founded the INVITRO project.
Through it, he has been using what has always been the city’s smallest off-space. Each year, Thaler himself realizes one or two projects in a former restaurant display window on Gerbergasse. Small in scale, yet accessible to downtown passersby around the clock, the diverse, always thematically focused exhibitions take shape. Each project starts virtually from scratch, and only the size of the installations is dictated by the venue. At invitro, the focus is on continuity and a versatile formal language.

invitro no 37 - iactatio
Gerbergasse 24, 4001
Dauerausstellung

TRACES OF ABSENCE
Kostas Maros
5 June – 31 July 2026

Kostas Maros lives and works in Basel. In his photographic practice, he explores landscapes, urban spaces and traces of human presence. His works move between documentary observation and atmospheric density, focusing on places in which interventions, movements and transformations remain visible even after the people involved have long disappeared.

In the exhibition Traces of Absence, Maros brings together the two photographic series Myths of Everyday Life and Cicatrice. Both bodies of work revolve around landscapes as carriers of human activity and around the question of how time, use and transformation become inscribed into spaces. Light sources, architectural interventions, fences or altered surfaces become subtle indicators of past processes and forms of human influence.

Myths of Everyday Life moves between nocturnal urban scenes, tropical landscapes and everyday situations. The photographs create a dense, almost cinematic atmosphere in which absence appears just as present as what is visible itself. Objects, light and spatial constellations become carriers of open narratives and subtle tensions. The series Cicatrice focuses on the marble quarries of Carrara. The monumental cuts into the mountain landscape appear both fascinating and unsettling. Between geological time, industrial extraction and cultural projection, the works depict a landscape that has been profoundly transformed while continuing to function as a site of aesthetic and economic value production.

Booth H121

Hebel_121 is presenting a sales exhibition on the occasion of Art Basel, featuring works by international artists who have exhibited at the gallery over the past 30 years.

Opening:
Saturday, 13. of June, 4pm

Duration:
13.06.–08.08.26

Opening hours:
Saturday, 4–6pm and by appointment
During Art Basel each day at 4 pm and by appointment

Douglas Allsop ● Valerie Arber ● Julia Bünnagel ● Julian Dashper ● Steven Day ● Michèle Degen ● Saeko Ehara ● Shuhei Fukuda ● Daniel Göttin ● Billy Gruner ● Naoki Hotta ● Akio Igarashi ● Alan
Johnston ● Sarah Keighery ● Jeremy Kirwan-Ward ● Saori Kuno ● Rossana Martinez ● Yuka Miyazaki ● Olivier Mosset ● John Nixon ● Yukiomi Ogai ● Kenzo Onoda ● Yasuko Otsuka ● Trevor Richards ● Michael Rouillard ● Sasaki ● Alfons Schilling ● Kate Shepherd ● Helen Smith ● Melissa Staiger ● Takashi Suzuki ● David Tremlett ● Jan van der Ploeg ● Lukas Veraguth ● Eiji Watanabe ● Kenji Yanagi

You’re warmly invited to the opening of Secret Garden at Remise on Friday, 12 June 2026, 6–10 pm, presenting a series of new paintings by Prague-based artist Olga Krykun 🌻🌱✨

A longing for joy and sensuality, a touch of melancholy, and memories of figures and characters that animated the stories of our childhood: these are the ingredients Olga Krykun infuses into her paintings.

For her exhibition, Secret Garden, on view from June 12 to August 31, 2026, in Basel, the Prague-based artist has created a handful of new works on canvas. Soft and glowy sunflowers, together with stars that radiate light and hope, await to tap into our subconscious as they transform Remise’s exhibition space into a greenhouse where imagination, emotions, and dreams grow freely.

Remise is a botanical art space – a retreat for artistic speculations and erratic practices – foreseen and run by Sylvan Lanz in Basel.

Olga Krykun – Secret Garden.
Opening: 12 June 2026, from 6 to 10 pm.
Open during Art Basel Week or by appointment.
Running until 31 August 2026.

📍
Remise
Bärenfelserstrasse 20 (Backyard)
4057 Basel

Text: Claudio Vogt

Sunday
6 September
2026
11 AM - 5 PM

The first stage of our crowdfunding campaign will end with a le ventre celebration:

A concert by French singer-songwriter Wooden Wolf!
Bar and Snacks!
Tours of the house, presentation of the intermediate stages of the renovation and an exhibition of historical finds from the house.

Come by! We’d love to see you there!

City SALTS: Lucas Erin – J’arrive!
Solo exhibition in the Cabane
15 Jun – 11 Sep 2026

With an intervention by Daisy Lambert

Opening reception: 18 June 2025, 6–10 pm

During Art Basel Week, all exhibitions will be open daily from noon to 6 pm.

The opening takes place as part of the City SALTS Garden Party and features a live concert by The Choolers Division at 8 pm, as well as food and drinks.

Lucas Erin’s solo exhibition «J’arrive!» at City SALTS transforms the Cabane in the garden into an immersive installation. The Cabane originates from Sol Calero’s 2015 transformation of the former garage into a Caribbean house-like environment, establishing a spatial and social framework later reconfigured as an exhibition space. Erin reactivates this structure, unfolding it as a new narrative shaped by his Caribbean heritage. Lucas Erin is the recipient of the Manor Art Prize Waadt 2026.

J’arrive! is curated by Benedikt Wyss and Samuel Leuenberger, and made possible through the support of the Abteilung Kulturförderung Kanton Baselland.

City SALTS: Shamiran Istifan – Xx, Hekate
Solo exhibition in the Box
15 Jun – 11 Sep 2026

Opening reception: 18 June 2026, 6–10 pm

During Art Basel Week, all exhibitions will be open daily from noon to 6 pm.

The opening takes place as part of the City SALTS Garden Party and features a live concert by The Choolers Division at 8 pm, as well as food and drinks.

Shamiran Istifan’s solo exhibition «xx, Hekate» at City SALTS unfolds in our Box. Hekate – a figure from Greek mythology associated with thresholds, transitions, and states of becoming – serves as the point of departure. A series of spells authored and practiced by the artist acts as the project’s organising principle. Addressed to people, objects, memories, and everyday circumstances, these acts of transformation materialise throughout the works. Istifan lives and works in Zurich (CH) and is the recipient of a Swiss Art Award in 2025 and the Manor Art Prize Aarau 2026.

xx, Hekate is curated by Benedikt Wyss and Samuel Leuenberger, and made possible through the support of the Abteilung Kulturförderung Kanton Baselland.

City SALTS: Osama Al Rayyan & Kelly Tissot – Marvelous Persona
Solo exhibition in the Garage
15 Jun – 11 Sep 2026

Opening reception: 18 June 2025, 6–10 pm

During Art Basel Week, all exhibitions will be open daily from noon to 6 pm.

The opening takes place as part of the City SALTS garden party and features a live concert by The Choolers Division at 8 pm, as well as food and drinks.

Syrian-French, Basel-based artist couple Osama Al Rayyan and Kelly Tissot’s Marvelous Persona transforms the City SALTS Garage into a site-specific installation. Marking their first-ever exhibition as a duo, the project brings together newly produced collaborative works and unfolds as a fragmented narrative shaped by the artists‘ distinct practices. Through sculptures, drawings, and digital prints, framed by a unifying exhibition architecture, Marvelous Persona materialises a fictional character emerging from the intersection of the artists‘ universes, blurring the boundaries between dream and reality.

Marvelous Persona is curated by Benedikt Wyss and Samuel Leuenberger, and made possible through the support of the Abteilung Kulturförderung Kanton Baselland, Ernst und Olga Gubler-Hablützel Stiftung, and Kunstkredit Basel-Stadt.

Flowers blooming from our crotches
Inka ter Haar, Maria Mayland, Dominik Geis
16.08.—20.09.2026

Opening: 15.08.2026, 18:00

Flowers Blooming from Our Crotches brings together three artistic positions that repeatedly intersect both thematically and formally. Drawing on (auto-)biographical references, the works—spanning film, video, painting, and graphic art—seek to articulate a sense of powerlessness in the face of the current antifeminist and anti-queer backlash.

The critical examination and deconstruction of masculinity—understood as both a symptom and a structural problem—is set against personal iconographies. These are shaped by subcultural and popular culture, social conditioning, and ongoing negotiations of identity. A shared point of reference is the engagement with (Christian) religion, approached either through personal biography or through art-historical and cultural-historical inquiry.

Roman Signer
Platz ist in der kleinsten Hütte. Für was? Zum Fliegen natürlich.
Permanent Installation since 07.07.2018

Roman Signer (b. 1938, St Gallen) defines himself as a sculptor – a sculptor, however, who expands his sculptures through the dimension of time. His happenings and installations, full of lively wit, have been redefining sculpture since the 1970s. By integrating time, energy, acceleration and change into the sculptural process, he finds new ways of consistently and playfully exploring the possibilities of this intrinsically static medium. The results of his explorations are often transient works, documented in photographic series, film or video footage. Signer’s most important materials are the four elements of fire, earth, water and air. Their composition and their quality are explored with impressive precision and endurance. For example, he lets hole-riddled kayaks fill up with water, catapults furniture across the room, or lays a kilometre-long fuse across eastern Switzerland.

Artachment, the unusual space initiated by Raphael Bottazzini, inspired the artist not only to participate in the anniversary exhibition, but also to conduct an in-situ intervention, or ‘happening’, as Signer refers to his work. There is space in the hut, and Signer occupies it: before the opening and without an audience, he enters equipped with protective goggles and a helmet. Inside, the artist fits a so-called quadcopter[1] with a brush drenched in blue paint. He then navigates this arrangement of flying object and painting utensil through the house and uses it to paint blue dots on the ceiling. The whole action is not without risk, which is why the artist dons the protective gear. What remains of the activity is the painted ceiling and the equipment that is left behind. The artist defines the finished work as an installation: lying on a shelf in the house, the objects reference the activity that took place there. As the public enter, they put together the pieces of the event. The narrative of this small tale is reflected in the title of the work: Platz ist in der kleinsten Hütte. Für was? Zum Fliegen natürlich (There is room in the smallest of huts. For what? For flying, obviously.). It is a short dialogue between the artist and a fictional counterpart that explains everything.

With the simple gesture of painting dots on the ceiling, Signer references the celebrated genre of the ceiling fresco, which is characterised by great artistic skill. To further interpret the scene, Roman Signer’s ceiling painting elevates the small house into more than a hut: the blue dots convert it into a chapel of art.

* What is popularly known as a ‘drone’ is in technical jargon a quadcopter (a four-rotor, remote-controlled helicopter). The term ‘drone’ is not heard among model aviation enthusiasts, since it refers to equipment that can be used for killing and war. The object used by Roman Signer for flying and painting, however, is a work tool, or as he says himself: “A peaceful thing with a flying brush.”

Text: Lena Friedli
Fotos: Claude Gasser
www.romansigner.ch

THYLACINE - Mischa Düblin, Fabian Unold
Schein
Since 07.07.2018 – Permanent installation

Mischa Düblin (b. 1973, Basel) and Fabian Unold (b. 1977, Zurich) have been working together since 2004. The artistic duo realises site- and context-specific works under the name Thylacine. Not limiting themselves to one medium or form, the duo’s situation-specific approach tends towards installations and the performative. Games with the audience or the involvement of other performers open up further possibilities.

Social structures and economic mechanisms are at the heart of Thylacine’s interest. Their art doesn’t aim for the white cube, it doesn’t function intrinsically or by itself, but invariably in relation to the real world. Critically, politically, and always with a good dose of humour, they examine balances of power, and make these events their own. While their art is implemented concisely and consistently, it deliberately leaves room for interpretation. The authentic and persuasive involvement of the two artists results from a content-related but also concretely physical appropriation. In this vein, they expose themselves to the direct jet of a snow machine for the 2007 work Schweigeminute (A Minute’s Silence), or they simultaneously pee their pants for the 2008 performance Stille Wasser (Still Waters) on the subject of fear.

Thylacine’s projects, performances and installations only ever happen once, but they have appeared twice at Artachment. In 2008, Mischa and Fabian were invited by Raphael Bottazzini to realise the very first project ever carried out in the former customs house at Kleinhüningen harbour. After careful observation of the site, the duo gave the space, which was at the time abandoned and frequently visited by vandals, a resident: they installed a life-sized puppet to make it look like someone sitting in the space was angling for fish through the window in the back wall. Through its new inhabitant, the space suddenly became accommodating, and a connection to the outside world was established. The situation was subtle (there was no opening and no publicity) and at the same time so realistic that passers-by who spotted the figure inside called the police.

Thylacine returned to Artachment in 2018 to exhibit in dialogue with Roman Signer. For their newly developed work Schein (Appearance), marking the 10th anniversary of the art space, they suspended a theatre spotlight from a tree next to the building and equipped it with a timer, which switched the light on and off in a predefined rhythm. A spotlight usually illuminates an attraction; a star performs in it, something important is given a stage. But the spotlight installed by Thylacine apparently misses its mark. The light beam illuminates neither the house celebrating its anniversary, Roman Signer’s installation, nor the public. The only connection to the house is the power cable. Other than that, the artistic intervention remains essentially immaterial. Schein illuminates a stage that remains empty, a non-place, a gap, and thus becomes a strange and refreshingly nebulous presence.

Text: Lena Friedli
Fotos: Claude Gasser
www.thylacine.ws

Raphael Bottazzini
Bank & Stapel
Since January 1, 2023 – ongoing

The bench does not pay tribute; it displays names in all their diversity—the diversity that society produces. The bench has been active since 2023 and follows the principle that every person deserves to be named. One of the three boards is replaced each month. The removed boards are set aside, continuously forming a stack in the Artachment exhibition space in Basel. The names are selected by various individuals—who do not coordinate with one another—and incorporated into the work. Through this process, the bench becomes a repository of names and follows no ideological orientation. The curatorial work is limited solely to the composition of two names on each board. The greater apparent arbitrariness of the name combinations arises from the monthly addition of a new board. In the process, the new names mix with the old ones, continuously creating new constellations across the entire bench.
The company Mitte is not part of the work and has no say in it.
Raphael Bottazzini

What is a name? Can a name be classified without context? What tensions are revealed and generated by *Bank&Stapel*? Can a work of art on private property truly be private if it is visible to the public? Can one speak of a juxtaposition of two names when there are a total of six names on the bench? Would the weighting of a committee