Opening: Friday, 29 August 2025, 6 pm

The work of Roger Humbert (1929–2022) positions him as a pioneer of Swiss photography. Humbert’s guiding principle, “I photograph light”, substantiates his artistic exploration of the interplay between subject and object, materiality and consciousness, and thus physics and metaphysics. He produced the majority of his photographs “to engage the mind” in the solitude of the darkroom at night. In non-repeatable ways, this artist played with stencils, which served him as pre-digital image generators, resulting in unique photograms and luminograms. In the 1960s, together with René Mächler, Rolf Schroeter and Jean-Frédéric Schnyder, he established ‘concrete photography’, a movement still well-known today.

The exhibition presents an overview of Humbert’s oeuvre, much of which has been housed at Fotostiftung Schweiz since 2007. Not only camera-less photographs are on display, but also series in which he documented the world of objects. At the age of 90, Humbert was still enthusiastically investigating digital methods of capturing light. The juxtaposition of this late work with his early analogue light experiments visualises Humbert’s ambitions and demonstrates an intertwining of independent artwork with the day-to-day business of a photographer in the applied domain, who ran a successful studio in Basel.

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The work of Roger Humbert (1929 – 2022) positions him as a pioneer in 20th century photography. His dictum “I photograph the light” describes the coincidence of subject and object, of materiality and consciousness and thus of physics and metaphysics within his artistic research work. His photographs for intellectual use. Humbert produces most of them in the solitude of the darkroom at night: unique photograms and luminograms are created through the unrepeatable play with templates, which serve the artist as pre-digital image generators. Together with René Mächler, Rolf Schroeter and Jean-Frederick Schnyder, he founded concrete photography in the 1960s.

The exhibition will be shown at the Fotostiftung Schweiz from 21.06 to 12.10.2025.

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Scarzella has identified twenty photographers within the collection whose works offer a broad overview of the way in which photography has portrayed Nature and the way in which Nature has inspired the most diverse photographic works. Starting from the iconic silhouettes of plants by Karl Blossfeldt (1865 – 1932), the exhibition moves through well-known and lesser-known names and works such as the x-ray photographs of flowers taken by Dr. Darin L. Tasker (1872 – 1964), juxtaposed with milestones of the genre such as the impeccable still-life by Kenro Izu (1949) and Tom Baril (1952). From the idyllic worlds of Annelies Štrba (1947) we move on to the meticulous ethnographic documentation of Edward Sheriff Curtis (1868-1952) up to the landscapes suspended in time of Sarah Moon (1941) to then arrive at Masahisa Fukase’s (1934 – 2012) photographs of flocks of crows as an allegory of pain and studies on clouds as a metaphor for life by Alfred Stieglitz (1864 – 1946).

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The exhibition “Transformationen (Transformations)” centres on a selection of about 300 exhibits from the collection of the cooperative-based Mobiliar, which at this point comprises over 2000 artworks. Objects, sculptures, paintings, drawings, prints, videos, and photographs by over 100 artists are on display.

With works by Hanspeter Hofmann, Hanna Roeckle, Balthasar Burkhard, Cuno Amiet, John Baldessari, Fischli / Weiss (Peter Fischli und David Weiss), Urs Lüthi, Alexandra Navratil, Ernesto Neto, Franz Gertsch, Silvia Gertsch, Alfred Glaus, Max Gubler, Séverin Guelpa, Romuald Hazoumè, Raphael Hefti and many others.

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Museum Franz Gertsch
Platanenstrasse 3
CH-3401 Burgdorf

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Annelies Štrba (*1947) is an observer and magician: She captures fleeting moments and creates dream images; life and art intertwine. When her children were small, the camera was part of everyday family life; at night, the mother would develop her prints in the darkroom. Again and again, she adopted new techniques and forms of presentation, for instance when she began working with video in the 1990s and when she eventually started to paint over photographs printed on canvas. While her earlier analogue works play with snapshot
aesthetics, her video stills and edited digital photographs achieve the intensity of expressionist paintings.

The Fotostiftung Schweiz collection contains a big group of Štrba’s early black-and-white photo canvases and colour photographs – intimate family scenes, but also bleak facades of large-panel-system buildings and high-rises. This retrospective exhibition, whose title quotes a poem by Emmy Hennings, presents these works for the first time. They are positioned around two newly conceived projections of the work cycles with which Annelies Štrba translated her view of the family into images: Shades of Time brings together photographs taken between 1974 and 1997, showing the children Sonja, Samuel and Linda as they grow up. Noonday is dedicated to her children’s children. When these series are seen together, the interweaving of eras becomes tangible. The visual worlds, characterised by subjectivity and intuition, merge to form one comprehensive cosmos.

Fotostiftung Schweiz
Grüzenstrasse 45
8400 Winterthur

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Thomas Nickles Project is pleased to announce the first solo show with the gallery of Adrián Fernández, Sketch for a Monument, bringing together sculptures and photography from three different series: Pending Memories, Monument to the Incomplete Man and the eponymous Sketch for a Monument, focusing on aging industrial fantasy monuments of a future long since past, that constitute much of Fernández’s latest work. Featuring a combination of variously sized pieces, photography and sculptures are interconnected through the gallery, where a photographic mural serves as a link between both expressions; and it is in exploring the ways in which these bodies of works are interrelated from their very conception, that Fernández’s distinct practice deploys an array of degrees of abstraction – formal and symbolic – to negotiate the relationship between fiction, architecture, landscape, permanence and ideology.

THOMAS NICKLES PROJECT
 47 Orchard Street
New York, NY 10002
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The future can only be imagined on the starting point of the present, which in turn is oriented towards the past. The group exhibition “Future Memories” oscillates between these different temporalities and, starting from yesterday and today, takes aim at what still lies ahead. The focus is on living spaces, environments and infrastructures. Climatic changes, technical developments or wanton destruction through ongoing warlike events change infrastructures and living spaces and have an impact on the organisation of social (co)life. So what can a future look like based on today’s circumstances? What will we be confronted with in a later present? And what will we (have to) remember in the future?

With works by Arnold Helbling, Maya Bringolf, Patricia Bucher and Taiyo Onorato & Nico Krebs.

Galerie im Gluri Suter Huus
Bifangstrasse 1
5430 Wettingen
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Anita Neugebauer (1916-2012) founded Switzerland’s first photo gallery in 1976 and devoted herself to the mediation of international and national photography. With her gallery, exhibition and collecting activities, she became an important pioneer for the continuing development of photography in Switzerland. With the exhibition Anita’s Point of View, photo basel is dedicating a homage to the person who has done so much for Swiss photography.

In collaboration with Claudia Neugebauer and photo basel, and curated by Alessa Widmer, we endeavored to provide an intimate glimpse into the world of Anita Neugebauer. The purpose of this homage is not to show photographs relating to a particular theme or selected time period, but rather to convey Anita Neugebauer’s view of photography and her joy and passion towards the medium and therefore presenting Anita’s Point of View.

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The current exhibition BEDS | Bedtime Stories in Photography is extended until 23 April 2022. The exhibition can be visited by appointment. Please do not hesitate to contact us to make an appointment:

galerie@fabian-claude-walter.com
+41 (0) 44 440 40 18

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The exhibition “TAKE CARE: ART AND MEDICINE. Wanderings through the history of illness and healing” with over 300 works reveals how the apparently contrasting disciplines of art and medicine reflect physical humanity and the human psyche. It retraces key moments in medical history from the 19th century right up to the present day.

The exhibition comprises the positions of 50 artists from the 19th to the 21st centuries, with detours as far back as the 15th: Panteha Abareshi, Ilit Azoulay, Jean-Michel Basquiat, Sabian Baumann, Judith Bernstein, Joseph Beuys, Louise Bourgeois, Rachal Bradley, Stefan Burger, Sophie Calle, Sabina Carraro, Georges Chicotot, Honoré Daumier, Jean Dubuffet, Albrecht Dürer, Max Ernst, Adolf Fleischmann, General Idea, Michael Günzburger, Anna Halprin and Ruedi Gerber, Barbara Hammer, Christoph Hänsli, Duane Hanson, Lynn Hershman Leeson, Damien Hirst, Ferdinand Hodler, Andreas Hofer, Hanspeter Hofmann, huber.huber, Anna Jermolaewa, Hennric Jokeit, Fritz Kahn, Martin Kippenberger, Paul Klee, Herlinde Koelbl, Bruce Nauman, MANON, Michelle Miles, Shana Moulton, Thomas Müllenbach, Matt Mullican, Meret Oppenheim, Uriel Orlow, Herbert Ploberger, Maria Pomiansky, Marc Quinn, Arnulf Rainer, RELAX chiarenza & hauser & co, Pipilotti Rist, Ana Roldán, Pamela Rosenkranz, Corinne L. Rusch, Katja Schenker, Talaya Schmid, Kiki Smith, Veronika Spierenburg, Jules Spinatsch, Lucy Stein, Daniel Spoerri, Rosemarie Trockel, Luc Tuymans, Varlin, Andreas Vesalius, Lotte Luise Volger, Christine Tien Wang and Nives Widauer.

Kunsthaus Zürich
Heimplatz
8001 Zürich
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The exhibition Brasilidade Pós-Modernismo was conceived for the Banco do Brasil Cultural Center (CCBB) to celebrate the Modern Art Week of 1922’s centenary , through traces, remnants and achievements acquired in fine arts in the last hundred years. The exhibition includes the participation of 51 artists and presents several characteristics that guide current Brazilian contemporary art, whose existence is owed, in part, to the artistic legacy and boldness idealized by Modernism. Curated by Tereza de Arruda.

With works by Luzia Simons, Adriana Varejão, Alex Flemming, André Azevedo, Anna Bella Geiger, Armarinhos Teixeira, Arnaldo Antunes, Augusto de Campos/Júlio Plaza, Barrão, Berna Reale, Beatriz Milhazes, Camila Soato, Caetano Dias, Cildo Meireles, Daiara Tukano, Daniel Lie, Delson Uchôa, Ernesto Neto, Emmanuel Nassar, Fábio Baroli, Farnese de Andrade, Flávio Cerqueira, Floriano Romano, Francisco de Almeida, Ge Viana, Glauco Rodrigues, Gisele Camargo, Jaider Esbell, Joaquim Paiva, Jorge Bodanzky, José De Quadros, José Rufino, Judith Lauand, Júlio Plaza, Lenora de Barros, Lina Bo Bardi, Lúcio Costa, Luiz Hermano, Márcia Xavier, Marlene Almeida, Maxwell Alexandre, Mira Schendel, Nelson Leirner, Oscar Niemeyer, Paulo Nazareth, Rejane Cantoni, Rodrigo Braga, Rosana Paulino, Rosilene Luduvico, Shirley Paes Leme e Tunga.

CCBB BRASÍLIA – CENTRO CULTURAL BANCO DO BRASIL
SCES, Trecho 2
Brasília – DF
Brasilien
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Curated by Li Zhenhua.

RSVP inauguration: 2 May 2022
Book Launch: 22 May 2022

Villa Arconati-FAR
Via Fametta, 1, 20021 Castellazzo MI
Italy

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The Fondation Herzog. A Laboratory for Photography is showing photographs by the pioneer of Concrete Photography Roger Humbert in the exhibition “Light | Form | Color” from December 3 to 12, 2021.

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Fondation Herzog
A Laboratory for Photography
Leimenstrasse 20
CH-4051 Basel

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Curators Sandra Gianfreda and Cathérine Hug have combined works from the Kunsthaus Collection with loans centred around the themes of earth, air, water and fire to create an associative itinerary that takes in not just the Chipperfield building at the Kunsthaus but also the passage adorned with art by Olafur Eliasson, before delving into the heart of the Moser complex with Joseph Beuys’s ‘Olivestone’ in the Müller building and ending in a ‘glacier room’.

On display are around 120 works by Annelies Štrba, Bernd and Hilla Becher, Joseph Beuys, Ursula Biemann, Nomin Bold, Gustave Courbet, Tony Cragg, Peter Fischli David Weiss, Albert Renger-Patzsch, Oliver Ressler, Germaine Richier, Ed Ruscha, David Shrigley, Jules Spinatsch, Thomas Struth, Vivian Suter and others.

Kunsthaus Zürich
Heimplatz
8001 Zürich

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Eastern Connecticut State University

“Our Tears Are Sweet, Our Laughter Venomous” is an exhilarating exploration of the work of twelve women artists of Iranian descent who challenge American media’s portrayal of Iran notable only for its extremism and anti-American policies, while ignoring the distinguished 2500 years history of Persian culture. Their art embodies a democratic ecosystem where resistance is nurtured, and alternative destinies are proclaimed. Though they work within the American branch of the Western art canon, their work is deeply inflected by memories of a land to which most fear returning.

With works by Samira Abbassy Roya Farassatt, Azadeh Hussaini, Arghavan Khosravi, Azita Moradkhani, Yasaman Moussavi, Zahra Nazari, Nazanin Naroozi, Afarin Rahminifar, Bahar Sabzevari and Anahita Vossoughi.

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Eastern Connecticut State University
83 Windham St, Willimantic, CT 06226
USA

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Opening: Saturday, 3 July 2021, 5 pm
Welcome speech: Vreni Müller-Hemmi, president Fondazione Garbald
Introduction: Stephan Kunz, artistic director Bündner Kunstmuseum, Chur

The exhibition is accompanied by a publication (German/Italian/English), edited by the Fondazione Garbald and the Bündner Kunstmuseum, Chur.

Villa Garbald
Via Principale 9
CH-7608 Castasegna

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“I am Nature – Of Vulnerability. Survival in the risk society”

ROHKUNSTBAU 26 is dedicated to the deep existential uncertainties that have been triggered by the Corona pandemic for many people. The starting point is our relationship to nature and the instrumental understanding of nature shaped by ideas of omnipotence and its consequences. For a long time now, scientific voices have been increasing that put causal connections between climate change and the loss of biodiversity on the one hand, and the repression of the habitats of other living beings with the outbreak of pandemics on the other hand, into a fruitful relationship. The destruction of the natural foundations of life by humans, exposes humanity to the dangers of disease and death. Through fears in times of pandemic, people do not consider the responsibility for their own actions, but project it onto nature itself and the invisible dangers. Viruses that people cannot see, hear, touch, taste or smell destroy everyday life.

With works by Luzia Simons, Armin Boehm, Etienne Chambaud, Claudia Chaseling, David Claerbout, Jochen Den, Nina Fischer & Maruan el Sani, Gilbert & George, Noa Gur, Kapwani Kiwanga, Tong Kunniao, Nadia Lichtig, Michael Morgner, Michael Müller, Yoko Ono, Philippe Parreno, Laure Provost, Yhonnie Scarce, Daniel Steegman Mangrané and Anna Rún Trygvadottir. Curated by Dr. Heike Fuhlbrügge.

Schloss Lieberose
Schlosshof 3
15869 Lieberose
Germany

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“The forest has always had a special place in society and culture. In myths, fairy tales and folk beliefs, it is not only a setting, but also has its own function, marking the border between the familiar and the unfamiliar. Against the backdrop of heightened sensitivity towards environmental and climate protection, not a day goes by without the forest making headlines in some form or another. The group exhibition brings together works by artists from Switzerland who approach the theme of the forest in an artistic way. The forest as a place of the uncanny, the undisturbed nature and idyll is thematized as well as the forest as a habitat and economic factor.”

Curated by Claudine Metzger. With works by Angela Lyn, Yann Amstutz, Julian Charrière, Teresa Chen, Marianne Engel, Alex Hanimann, Marcus Maeder, Luca Mengoni, Nico Müller, Felix Studinka, Esther van der Bie.

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Kunsthaus Grenchen
Bahnhofstrasse 53
2540 Grenchen
Switzerland

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In the cabinet of the Franz Gertsch Museum, the Keller-Wedekind-Stiftung will for the first time provide an insight into its collection of contemporary figurative art. The exhibition includes works by Silvia Bächli, Klodin Erb, Marc-Antoine Fehr, Bendicht Fivian, Silvia Gertsch, Thomas Huber, Georgine Ingold, Zilla Leutenegger, Stephan Melzl, Chantal Michel, Josef Felix Müller, Andrea Muheim, Thomas Ritz, Tobias Weber, Cécile Wick, Uwe Wittwer and Helena Wyss-Scheffler.

Museum Franz Gertsch
Platanenstrasse 3
3401 Burgdorf
Switzerland

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The New York skyline with its iconic skyscrapers is an extraordinary sight. In 1999, feeling somewhat threatened, Annelies Strba made a film of it. After the events of September 11th, 2001, the artist created New York 2001 from the images she captured two years earlier. The twin towers of the World Trade Center are still standing but appear like dark messengers of their own destiny, like soot-blackened skeletons.

MBAL Musée des beaux-arts
Marie-Anne-Calame 6
2400 Le Locle
Switzerland

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Opening: Saturday, 5 September, 5 pm

BelleVue – Ort für Fotografie presents in cooperation with photo basel the exhibition ad rem – Photography as Technical Intelligence by the Swiss photographer Roger Humbert.

Photography is a special form of technical intelligence. As a technical invention, it contributes to the advancement of social development: It has made things visible that were previously inaccessible to the human eye, and at the same time has changed human perception forever. Roger Humbert has always been committed to the technical intelligence of photography in his work. He is well known for his wonderful photograms and experimental shots, which take light as such into account and make it the source of composition. Humbert has also taken photographs with a camera over decades of travel and everyday life, which are now being shown for the first time in a representative selection. Roger Humbert invites us on a world tour, takes us to France and Italy, to North Africa and China. In this exhibition his photographs can be discovered and with them a special world of light and the reality of things. “ad rem” leads us to the matter – and this matter is our reality of light, which here becomes a wonderful sequence of light pictures.

BelleVue – Ort für Fotografie
Breisacherstrasse 50
CH–4057 Basel

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“Visually marked by an accumulation of unfinished and eroded structures, PENDING MEMORIES examines the relationship between architecture and memory, ideology and history, showing the traces of a society sustained by the memory of a time that never came. The photographs, more than isolated images, are presented as archives capable of configuring a dis- course in the articulation and recovery of individual and collective memory.” – Lisset Alonso Compte

Centro de Arte Contemporáneo Wifredo Lam
San Ignacio No. 22, esq.
Empedrado, Plaza de la Catedral
Havana, Cuba

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Nuns in the Middle Ages were much more than ascetic women who were only interested in the world within the monastery walls. The convent offered women opportunities that they otherwise hardly had – access to higher education, social security and the chance to escape family norms. The exhibition uses various personalities to illustrate the diversity of the ways of life of spiritual women in the Middle Ages.

The exhibition shows a video installation by Annelies Štrba, in cooperation with Jürg Egli and Samuel Schobinger.

Landesmuseum Zürich
Museumstrasse 2
8001 Zurich, Switzerland

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The title refers to the James Bond classic, which was shot shortly after the Cuban crisis during the Cold War. To this day, significant parts of Cuban art refer to the country’s particular history and reality. For a deeper insight into the complex and special situation of contemporary art in the Caribbean state, the exhibition highlights current developments. The exhibition Love Greetings from Havana was created in collaboration with Dr. Beate Kemfert, collector Robert Funcke and the artist and critic Tonel (Antonio Eligio Fernández).

With works by Adrián Fernández, Juan Carlos Alom, Iván Capote, Yoan Capot, Los Carpinteros, Marco Castillo, Ariamna Contino, Susana Pilar, Delahante Matienzo and others.

Opelvillen Rüsselsheim
Ludwig-Dörfler-Allee 9
65428 Rüsselsheim am Main
Deutschland

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This collection presentation focuses on the exploration of new artistic avenues in photography during the 1970s and 1980s, both in Switzerland and internationally. The old concept of craftsmanship came up against new artistic ideas. Photography and its reception changed significantly in the 1970s and 1980s. The classical reportage photography of previous decades had run its course, and artists moved in to inspire the scene. A stylistic pluralism emerged; and as photography was disseminated by newly established publishers and galleries, it soon came to the attention of art museums. Including 30 works from the photo collection of the Kunsthaus Zürich together with a number of items on loan, the exhibition showcases these visual, conceptual and structural innovations in photography.

Kunsthaus Zurich
Heimplatz 1
8001 Zurich
Switzerland

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Pending Memories plays upon Adrián Fenrández’s study of the artifice, the spectacle of consumerism, technological constructs (tangible and digital), and beyond. This iteration showcases a massive mixed-media sculpture reminiscent of an advertising billboard or the corpse of a military installation. At the foot of this altar does one gaze in awe or cower in defeat? Yet, is it cloaked by banality of frequency in which we view the countless structures that dot our landscape and consciousness?

301 Gallery
301 Essex Street
Beverly, MA 01915, USA

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The exhibition “Model-Natures in Contemporary Photography” brings together artists who deal with the theme of artificially constructed nature in their self-made models for the first time. They work in the medial threshold area between sculpture, model making and photography, whereby photography acquires significance as the final form of presentation, since the models built are often destroyed. They show miniatures of fantasy places, sea, snow and mountain landscapes as well as urban areas, cosmic formations, catastrophes and forces of nature. With works by Sonja Brass, James Casebere, Julian Charrière, Jojakim Cortis & Adrian Sonderegger, Frank Kunert, David LaChapelle, David Levinthal, Maija Savolainen, Shirley Wegner and others.

Ludwig Galerie Saarlouis
Alte-Brauerei-Straße, Kaserne VI
66740 Saarlouis

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The SpallArt Collection opens its storage doors and presents works on the wide topic Flowers. With works by Luzia Simons, Ansel Adams, Eugène Atget, Max Baur, Werner Bischof, Michaela Bruckmüller, Adolf Fassbender, Lee Friedlander, Caroline Gavazzi, Ernst Haas, Robert F. Hammerstiel, Martin Klimas and others.

Sammlung SpallArt
Jakob-Auer-Straße 8
5020 Salzburg, Austria

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Adrián Fernández Milanés’ proposal for Detrás del Muro, a sculptural volume over six meters high entitled “Monumento al hombre incompleto” (Monument to the incomplete man) references the processes by which the nations of the world have settled culturally, and generated the symbols of their own representativeness The imagery of this work has clear references in the art of the first half of the 20th century, specifically with Russian constructivism and Italian Futurism, frank tribute to the ideoesthetic force and the innovative and revolutionary power of these artistic movements.

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Group exhibition with works by Luzia Simons, Margret Eicher, Rebecca Stevenson and Myriam Thyes.

me Collector Room Berlin
Wunderkammer
Auguststraße 68
10117 Berlin

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Group exhibition with works by Luzia Simons, Julian Charrière, Jan Fabre, Meret Oppenheim, Robert Smithson, Daniel Spoerri, Isa Genzken, Maurizio Cattelan, Julius von Bismarck, Sarah Lucas and others.

MOCAK
Museum of Contemporary Art in Krakow
ul. Lipowa 4, 30-702 Krakow, Polen

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Three artists were encouraged to engage with the local story of Ruby Payne-Scott and the highly significant but largely unknown story of her work at Potts Hill Astronomy Hut in Bankstown. Ruby is the first woman radio astronomer in the world and from Potts Hill made a number of highly significant scientific discoveries, including black holes at the centre of our Galaxy and the first mapping of our Galaxy. This exhibition is the result of a two month residency at the Incubate Artist Studios, a new pop-up space housed in the Former Women’s Rest Centre, Bankstown.

Bankstown Arts Centre
5 Olympic Parade
Bankstown
NSW 2200

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“Soon machines will be able to reproduce any stable material constellation of manageable size microscopically accurate. It will only take time with planets and living beings. If people want to assert themselves against machine reproduction with handmade things and not abuse other living beings, then they only have a chance to play a hand on themselves.” – Excerpt from the essay by Ingo Niermann that was inspired by Hanspeter Hofmann’s works

Galerie Anke Schmidt
Schönhauser Str. 8
50968 Köln
Deutschland

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