We are happy to announce our upcoming exhibition «Racetrack» by Roman Selim Khereddine @rs_khereddine Please join us for the opening on Saturday April 25th from 6pm to 10pm. A magazine in dialogue with the exhibition will be released on June 13th with text contributions by Kris Belden-Adams, Clara Chavan, Max Haiven and Marion Mangelsdorf.
🙏 @studiopfisterer
#12 «Marble Melodies Fiction Zone» is out 👽 with contributions by Julia Grillmayr, Eva Kadlec, Numa, MPPO – Miraculous Priscilla Predator Organization with imagery from our last show «Priscilla Predator: geboren, leben, sterben» by Paul Fritz and Virginie Sistek 💚
☝️with a CD 😍
👉 order for CHF 15 👉 sign up for an annual subscription 👉 download for free on our website (link in bio) 🍭 killer graphic design: Vera Kaspar
In Marble Melodies Fiction Zone, Julia Grillmayr takes us right there: beyond the threshold of a dazzling and frightening zone where otherworldly wonders open up speculative possibilities, enabling us to see “the world out there” in a whole new light. That’s where Eva Kadlec comes in, asking what stories do to our hearts. In doing so, she takes a closer look on grimdark, a popular genre and late-capitalist illusion in which violent transgression is considered revolutionary and trust merely provisional. At this point, it might be helpful to change the language. For by listening and humming along, other forms of emotional realities can be explored and experienced. With his extraterrestrial sounds, Numa promises more than a soundtrack to the magical transformation of the narcissistic astrophysicist Wallace Neyton, as traced by the discreet non-governmental organization MPPO. It is the language of and to Supplice, a beautiful planet whose mystery cannot be unravelled by the human mind.
watch this video-excerpt (with audio) from our current expo Priscilla Predator: geboren, leben, sterben by Paul Fritz @pfff.ffffz and Virginie Sistek @virginiesistek music by Numa ❤️🔥❤️🔥❤️🔥 the whole play is about 30minutes, starting every hour on the hour during opening hours
👉running trough March 14th don‘t misss itttt 👽
from our current expo «Priscilla Predator: geboren, leben, sterben» by Paul Fritz @pfff.ffffz and Virginie Sistek @virginiesistek the show runs until 14.03.26 open on Saturdays 11-17h. 👉 the play starts every hour on the hour during opening hours. last run: 4pm. 👉 don‘t missss ittt.
exhibition views from our current show «Priscilla Predator: geboren, leben, sterben» by Paul Fritz @pfff.ffffz and Virginie Sistek @virginiesistek ❤️🔥❤️🔥 the show runs until 14.03.26 open on Saturdays 11-17h. 👉 the play starts every hour on the hour during opening hours. last run: 4pm.
Sunday is museum day. “For the first time, a museum exhibition brings into dialogue Auguste Rodin (1840–1917) and Hans Arp (1886–1966), pairing the ground-breaking work of modern sculpture’s great precursor with the influential work of a major protagonist of abstract sculpture.” Accompanied by relatives we coudn‘t choose ourselves, we walk the path between “Landscape or Woman, 1962” and “Vase, Pregnant Amphora, 1953” at the Fondation Beyeler in summer 2021. Links between “women” and “landscape,” between “women” and “containers” are made. Discomfort is the feeling that can creep up on you in such rooms. A feeling that shapes teenage years and could be an indicator of discord. But the utopian power of discomfort and the romanticized longing for another place is normalized and rendered harmless in the sense of a coming-of-age story. The need of support in searching for oneself and for meaningful coexistence, which cannot be achieved independently, seems rather to serve as a justification for setting boundaries and pointing the way ahead. Even Priscilla has to unwrap her presents. The compulsion to be grateful and to owe something in return can only come into effect when the ritual is completed, or can only be circumvented if things belong to everyone: In the scrapyard of digital culture, where things lie around that have been swallowed and excreted by AI, copied again and again, and have long since reached Baudrillard’s fourth stage.
photos by Gina Folly @gina_folly
🙏 @d_m_solutions_
Join us for the opening of «Priscilla Predator: geboren, leben sterben» by Virginie Sistek @virginiesistek and Paul Fritz @pfff.ffffz on Saturday 13th of December from 18-22h everyone is welcome 👽
killler poster by Daniel Drabek @ddanielddrabek
🙏 with additional support by Ville de Lausanne, Canton de Vaud, Oertli Stiftung
#11 «Vampire ANT Moth Maids» is out 😀 with text contributions by Nikolaus Heinzer, Raja’a Khalid, Kim Naehoon, Jennifer Merlyn Scherler and imagery from our last show «Wear a mask and your face grows to fit it» with Sebastián Dávila, Leon Höllhumer, Mati Jhurry, SPORT, Jennifer Merlyn Scherler, Melanie Jame Wolf. Thank you everyone involved ❤️🔥
👉 order for CHF 15 👉 sign up for an annual subscription 👉 download for free on our website (link in bio) 🍭 killer graphic design: Vera Kaspar
In Vampire ANT Moth Maids Dilruba gets bitten. Gothic letters on a black background draw her into the dark and open Raja’a Khalid’s story on the negotiation of reality and its limits. It is by no means only humans who have the power to act, as Nikolaus Heinzer makes clear in his introduction to actor-network theory. Artificial blood, melancholic music, and guns can also make a difference. In the chain of hardly controllable variables, phenomena can easily get out of hand. It may then be helpful to take a closer look at specific connections. Kim Naehoon sees the interplay of cultural dissatisfaction, technological possibilities, and new forms of communication as fertile ground for fascism: Moth people, who lack sensibility and a sense of time, flutter from one irritant to the next, seemingly carrying the weight of the world on their wings. In a combination of anime, Victorian costumes, and hyper-individualized society, Jennifer Merlyn Scherler experiences a completely different situation: In the 2.5-dimensional space of the maid/made café, it is possible to be forever 17, to come home again and again, to escape loneliness and to cry together.
Melanie Jame Wolf @melanie.jame.wolf is part of «Wear a mask and your face grows to fit it» with
1-3. The Creep, 2024, single channel 4K video, colour, sound, 14 minutes 40 seconds
4. Threshold II (finite jest), 2025, fabric, wood, embroidery cotton, 300 × 380 cm
visit us before it‘s too late ~~ we are open on Saturdays from 11-17h and by appointment 👀
📸 Gina Folly
Mati Jhurry @matijhurry is part of «Wear a mask and your face grows to fit it» with
duty free_Emirates Staff No.460596, 2025, Series of 9 photographs pulled from the archive of performance Emirates Staff no. 460596, digital print on paper, aluminium frame, 31 × 41 × 2 cm each
visit us before it‘s too late ~~ we are open on Saturdays from 11-17h and by appointment 👀
📸 Gina Folly
Leon Höllhumer @leon_hoellhumer is part of «Wear a mask and your face grows to fit it» with
1. Unter 18 Verboten, 2025, ceramic, glass, 30 x 30 x 2 cm each
2.-3. Parrot the Parent, 2023, short movie, 18 minutes. with: Annina Machaz, Florentina Holzinger, Daniel Rajcsanyi, Philipp Pess, Annemarie Arzberger, Apokalypso Mike, Ingrid Dorfinger. music by Karolina Preuschl. Painshaver-Production Kamera, Set, costume, requisites
visit us before it‘s too late ~~ we are open on Saturdays from 11-17h and by appointment 👀
📸 Gina Folly
Sebastiàn Dàvila @febaftian is part of «Wear a mask and your face grows to fit it» with
Modelo para una isla, 2025, cardboard, 250 × 130 × 100 cm
visit us before it‘s too late ~~ we are open on Saturdays from 11-17h and by appointment 👀
📸 Gina Folly
Jennifer Merlyn Scherler @jennifermerlyn is part of «Wear a mask and your face grows to fit it» with
1. Grave Friend (early generation, international version), 2025, hand-hammered silver, polyester textile, lace, stuffing, Japanese paper, 18 × 28 × 31 cm 2. 墓友 (early generation, Japanese version), 2025, hand-hammered silver, cotton textile, fake fur, lace, stuffing, Japanese paper, 12 × 19 × 33 cm
visit us before it‘s too late ~~ we are open on Saturdays from 11-17h and by appointment 👀
📸 Gina Folly
