(What You’ll Find) On the Way to Becoming is not a play that explains itself. It creates a shared space and observes what happens when people are trusted to arrive on their own terms. Participation is invited, never required. Stillness is as valid as movement. What unfolds is not spectacle, but attention — collective, unranked, and quietly transformative.

I did not attend Professor Greta Patzke ’s recent lecture on artificial photosynthesis  as a scientist. My presence in the room was that of a systems thinker — someone who moves between disciplines, between art and analysis, between the symbolic and the structural. The title — Welche Zukunftsfragen löst die künstliche Photosynthese?  — translated to Which future questions does artificial photosynthesis solve?  But what it really asked, at least to me, was something deeper: wh

It was not an academic seminar, nor a corporate showcase, but something in between: a dialogue between entrepreneurs, financiers, policymakers, and diaspora leaders about what it really takes to build self-determined futures.

To go beyond the frame is to recognize that the power of storytelling lies not only in what is shown, but in what is left unsaid — in the silences that demand to be heard.

Adaku. In Igbo, it means “first daughter.” In Zürich this week, it means something else too: a gathering, an experiment, a pop-up that insists food is never just food. When Naomi Adaku Biaduo said the word to me, it felt less like a brand than a confession — rushed but intentional, unprepared yet honest. Adaku is her second name, but also her claim: the first-born of a vision years in the making. From a sold-out cookbook in 2017, co-created w/chefs across West Africa, to Uch

Thabiso’s work is not just art — it is lineage, memory, and the future of Zurich’s cultural fabric. His grandmother’s painted walls carried the geometry Europe later claimed as “modernism.” His canvases today carry those invisible legacies forward, while Botaki Factory, housed in a UBS building at Albisriederplatz, transforms unutilised space into a living gallery month after month.

Charles-Philippe Jean-Pierre brings memory, soft power, and presence to Basel Captured Zeitgeist by Tallulah Patricia Bär What makes one...

In a global art economy defined by metadata—artist bios, national origin, trauma narratives, funding brackets—what happens when someone proposes stripping all of that away?