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It didn’t start with Monster. It started earlier this year, with a general rehearsal. Meloe invited me to a Generalprobe of (WHAT YOU'LL FIND) ON THE WAY TO BECOMING A SOMATIC RITUAL by Ta-Nia. No big framing, no expectation. Just: come. At the time, it felt casual. In hindsight, it was precise. It pulled me back into theatre. Not as a child participating, like I once did at Junges Theater Gessneralle, but as someone watching differently. Less absorbed. More aware. Watching n

This reflection sits at the intersection of diaspora and the geopolitics of the art market. It explores how perspective is shaped, how visibility is constructed, and how cultural institutions operate not outside of power, but within it.

At a Patagonia storytelling breakfast hosted at Impact Hub Zürich, climbers, community organizers, and outdoor advocates gathered to explore a deceptively simple question: who actually feels at home in the outdoors? Drawing on research, lived experience, and initiatives such as Alpinehearts and Colour Your Trail, the conversation revealed how belonging in nature is shaped not only by landscapes, but also by culture, community, and the invitations that open new paths.

What can a postage stamp reveal about how culture moves through Switzerland? A reflection on Giacometti, institutions, and the quiet infrastructure of cultural memory.

An evening at the Kunsthaus Zürich became more than a vernissage. Reflecting on the opening of Kerry James Marshall: The Histories, this essay explores how one exhibition quietly shifts the historical center of gravity within a European museum and what that moment means culturally, historically, and socially for Switzerland.

What drew me in wasn’t an abstract theme, but Kourtney as a person. Kourtney as a practice. A way of thinking through the body rather than around it. Three Black women. On a spectrum of Blackness, creativity, curatorial responsibility, and curiosity. Each of us shaped by different contexts — the US' South, Switzerland, Europe and beyond — yet meeting in the same question: how do we move between institutions and intimacy without losing ourselves?

(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?

When The Bishop Gallery touched down in Basel for its debut at VOLTA Art Fair 2025, it was not merely a new pin on the map—it was a...

This wasn’t a performance. It was a soft intervention and the creation of a collective energy leveling field.

That’s how the inaugural edition of Artistic Conversations • began—hosted inside The Artistic, the cultural wing of Zurich’s most future-forward co-working space, HeadsQuarter. No panels, no hierarchy, no pretense. Just a collective container for conversation—for artists, producers, musicians, curators, thinkers, and those who build culture with their hands and hearts.

Markets have histories. Aesthetics have power. And geopolitics are embedded in the movement of objects, people, and narratives—whether explicitly declared or subtly encoded.

By Tallulah Patricia Bär It was during a brief interlude at the inaugural Europe-Asia Economic Summit in Davos—a summit I’ve had the privilege of advising over the past eight months—that I found myself in conversation with Peter Lu. Not in a spotlighted keynote. Not over a planned briefing. But in that liminal space where ideas sometimes unfold more freely: the coffee break. Europe Asia Economic Summit The EAESummit , designed as a strategic bridge between regions, convened

Michael had read Sticker Diplomacy — the piece I wrote after first stumbling into Lim’s gallery — and reached out. We’d been in touch that week. And now, he simply showed up. No fanfare. No expectations. Just presence. His work hung behind us. Funnily enough — so did his testicles.