http://www.museenbasel.ch/ Sun, 20 May 2012 04:04:22 +0200 museenbasel rss en http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=473 Augusta Raurica, Augst
15.04.2009 – 12.2014

Alle sind sich einig: Die Mauerreste im kleinen Schutzbau unterhalb der bestehenden Kirche St. Gallus in Kaiseraugst gehören zu einer der frühesten christlichen Anlagen der Nordwestschweiz. Der in den 1960er-Jahren ausgegrabene Komplex wurde zunächst für die Amtskirche des (in Schriftquellen für die Jahre um 340 n. Chr. bezeugten) Bischofs Justinian gehalten, doch konnte diese Interpretation durch das neuste Forschungsprojekt von Guido Faccani widerlegt werden: Die Kirche scheint erst im späteren 4. Jahrhundert erbaut worden zu sein und das vermeintliche Taufbecken hatte keine liturgische Funktion, gehörte also nicht zu einem Baptisterium, sondern war eher Teil der Badeanlage der bischöflichen Residenz. Die neuen Erkenntnisse mindern die Bedeutung der Fundstätte jedoch in keiner Weise. Im Vordergrund der Ausstellung „Frühe Christen“ im Schutzhaus stehen einige christliche Grabsteine aus dem Kastellfriedhof sowie mit christlichen Symbolen geschmückte Gegenstände des 4. bis 7. Jahrhunderts. Die Mauerreste im Schutzhaus bilden dabei – faktisch und im übertragenen Sinne – den Rahmen der Präsentation: am einen Ende die Kastellmauer, Symbol römischer Macht, am anderen Ende die Mauer der ersten Kirche, Zeichen des Aufstiegs des Christentums. Besuchen Sie die frühe Kirche in Kaiseraugst und lassen Sie sich in die Zeit nach den Römern versetzen. In jene Jahrhunderte, in welchen die römischen, germanischen und christlichen Wurzeln zu unserer europäischen Gesellschaft zusammenwuchsen.]]> info@museenbasel.ch (Basel Museum Services) Tue, 17 Feb 2009 00:00:00 +0100 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=473 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=5166 Augusta Raurica, Augst
25.03.2010 – 01.2013

Urban planning on a drawing board is not peculiar to modern times. The Romans were already designing entire towns at their desks. Augusta Raurica is a typical example of this. Finds arranged around a three-dimensional model illustrate the history of the town from its founding in 44 BC to its demise around AD 600.]]> info@museenbasel.ch (Basel Museum Services) Thu, 27 Aug 2009 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=5166 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=7750 Augusta Raurica, Augst
14.04.2011 – 01.2013

Roman bathing culture is legendary! Being pampered in changing temperatures in ostentatious thermae, swimming, sweating, cooling down, debating, playing games, exercising, oiling oneself and being massaged, eating and drinking, resting, reading … for hours on end: quintessential wellness. In the subterranean Rhine baths in Kaiseraugst you will be transported back into the mysterious world of a Roman bathing palace in Augusta Raurica. Visitors amble through spaces that in Roman times were filled with hot air circulating between the pillars which supported the floors of the heated bath halls and basins, discover concealed rooms, enter heating chambers, walk along hot-air channels while listening to bathers enjoying themselves in the “cathedrals of delight”: an interesting insight into a hidden world from 1700 years ago.]]> info@museenbasel.ch (Basel Museum Services) Mon, 23 Aug 2010 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=7750 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=7874 Museum.BL, Liestal
16.04.2011 – 31.12.2012

How fast fly space shuttles to the universe? Who was the first man in the space? What eat astronauts for lunch? And what is the difference between a star and a galaxy? The new children exposition at the Museum.BL offers visitors a round trip to the space. They experience everyday life on board of the International Space Station (ISS) and encounter the red giant, black hole and unknown galaxies. 3-2-1 ... Go! Round trip to the universe - an exposition for children and young at heart.]]> info@museenbasel.ch (Basel Museum Services) Sat, 01 Jan 2011 00:00:00 +0100 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=7874 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=7908 Jüdisches Museum der Schweiz
04.09.2011 – 31.12.2012

In each religious group rites of passage are known. According to the Jewish law boys in the age of 13, girls in the age of 12 attain full age. The exhibition centres adolescents telling about the important celebration between childhood and adulthood. Also the life of Jewish Teenagers is pointed out.]]> info@museenbasel.ch (Basel Museum Services) Sun, 04 Sep 2011 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=7908 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=9784 Museum der Kulturen Basel
07.09.2011 – 04.11.2012

The exhibition deals with aspects of modern ethnology: belonging, the ability to act, space, knowledge and setting. Each ethnological object has a mind of its own, its own purpose. To explore this and enjoy it, is sheer inspiration. Museums, too, have a mind of their own, which exhibitions reflect.]]> info@museenbasel.ch (Basel Museum Services) Mon, 05 Sep 2011 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=9784 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=7903 Naturhistorisches Museum Basel
21.10.2011 – 02.09.2012

The Basel Natural History Museum (Naturhistorisches Museum Basel) has an extraordinary collection of human skeletons. The exhibition shows how modern science works with these skeletons, and how they have succeeded in expanding their individual fates into amazing stories.]]> info@museenbasel.ch (Basel Museum Services) Thu, 20 Oct 2011 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=7903 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=7628 Museum für Musikautomaten, Seewen
22.10.2011 – 31.03.2013

M. Welte & Söhne first displayed its Philharmonie organ before a public audience in November 1911 at the World Exhibition in Turin, Italy. The Seewen Museum of Music Automatons is marking the 100th anniversary of this event by mounting a special exhibition celebrating the organ and the company that made it. The museum not only has one such organ - the instrument known as the Britannic Organ, which had been destined for the ocean-going SS Britannic, sister-ship of the Titanic - but also possesses a number of other instruments from Welte, a company held in high regard at the turn of the 19th century. Other highlights of the exhibition include an extensive collection of music rolls for organ as well as piano (some 1500 rolls for the Philharmonie organ and around 1600 rolls for Welte's Mignon piano), plus what is thought to be the only performance recording device made by the Welte Company still in existence.]]> info@museenbasel.ch (Basel Museum Services) Wed, 15 Jun 2011 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=7628 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10373 Anatomisches Museum der Universität Basel
02.02.2012 – 20.01.2013

There is scarcely another city animal that lives so close to human beings and is so successful as the feral pigeon. However there are also shady sides to the world of the pigeon.]]> info@museenbasel.ch (Basel Museum Services) Thu, 02 Feb 2012 00:00:00 +0100 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10373 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10375 Vitra Design Museum, Weil am Rhein
03.02. – 03.06.2012

The brothers Ronan and Erwan Bouroullec rank among the most influential contemporary designers. Their ideas are often inspired by shapes and structures of nature. The exhibition presents sketches and conceptual drawings of the Bouroullecs and draws attention towards the medium of drawing itself, which has kept its importance even in times of computer visualizations. This offers fascinating insights into the inspirations of the designers, but also in some preliminary stages of their final creations.]]> info@museenbasel.ch (Basel Museum Services) Fri, 03 Feb 2012 00:00:00 +0100 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10375 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=9839 Kunstmuseum Basel
11.02. – 20.05.2012

Róza El-Hassan (b. Budapest 1966) is one of the most prominent representatives of contemporary Hungarian art. Over the past twenty years, the artist’s drawings, objects, installations, and actions have earned her international renown. Drawing is a constant companion of her art and at times its central element. In the earlier works, a conceptual approach predominates; since 1999, she has created diary-like drawings and collages. Her works on paper are always light and delicate, remaining open and tentative. For the artist, who has Syrian as well as Hungarian roots, drawing as a research technique always also implies a quest for her own identity. Between ornament and protest, her drawings negotiate fundamental issues of artistic autonomy, political relevance, and aesthetic aspiration.]]> info@museenbasel.ch (Basel Museum Services) Fri, 10 Feb 2012 00:00:00 +0100 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=9839 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11407 Haus für elektronische Künste Basel
09.03. – 20.05.2012

The last decade has seen an incredible growth in the production and distribution of images. The availability of inexpensive production tools has seen an exponential rise in amateur creativity, while the Internet provides a new distribution platform for this kind of production, which previously remained private. Collect the WWWorld sets out to demonstrate how the Internet generation is implementing and developing a practice started in the Sixties by Conceptual Art, and further developed in subsequent decades in the forms of Appropriation Art and postproduction: the practice of exploring, collecting, archiving, manipulating and reusing huge amounts of visual material produced by popular culture and advertising.]]> info@museenbasel.ch (Basel Museum Services) Thu, 08 Mar 2012 00:00:00 +0100 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11407 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10119 Cartoonmuseum Basel
10.03. – 17.06.2012

Martial Leiter (born 1952 in Fleurier, in the Canton of Jura, Switzerland) is one of the most distinguished Swiss cartoonists. He is an accomplished political cartoonist and a successful independent artist. His black and white drawings raise issues such as modernisation, poverty, environmental destruction, and armed conflicts. Many newspaper readers are familiar with Martial Leiter’s pointed comments on current affairs, rendered in meticulously hatched drawings for daily and weekly newspapers such as the «Weltwoche», «Tages-Anzeiger» and «Wochenzeitung (WoZ)». For the Cartoonmuseum Basel, Martial Leiter will create a contemporary version of the Basel Danse Macabre. This large new drawing will be at the heart of the extensive retrospective of Leiter’s award-winning work.]]> info@museenbasel.ch (Basel Museum Services) Thu, 11 Aug 2011 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10119 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=9910 Pharmazie-Historisches Museum der Universität Basel
13.03. – 31.07.2012

Caffeine belongs to our everyday life. It's found in food and drinks and it's used in cosmetic and medical products. Caffeine is popular and polarised. For some its pure pleasure, for others an addiction. The exhibition leads us into the huge area of the powerful drug. How does this substance move so effortless between addiction, pleasure and medical remedies? The exhibition shows how the first caffeinated products (coffee and tea) became so popular in the western world. It gives an insight into the complex history of the caffeine research. It highlights the actual phenomenal success stories of energy drinks and celluliteoitments.]]> info@museenbasel.ch (Basel Museum Services) Mon, 12 Mar 2012 00:00:00 +0100 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=9910 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11578 Museum am Burghof, Lörrach
15.03. – 10.06.2012

Fotografiert von Martin Schulte-Kellinghaus, gespielt vom Jungen Theater Nellie Nashorn Martin Schulte-Kellinghaus fotografiert seit sechs Jahren die Aufführungen des Jungen Theaters Nellie Nashorn. Junge engagierte Schauspieler und Schauspielerinnen spielen eindrucksvolle Stücke unter der Regie von Birgit Vaith. Jugendromane, Kinderbücher und Märchen dienen als Vorlage für diese Inszenierungen. Dabei entstehen Geschichten, die sowohl Kinder, Jugendliche als auch Erwachsene begeistern. Die Fotos bringen die besondere Theateratmosphäre der Inszenierungen und Spielszenen zur Geltung. Die schauspielerischen Leistungen der jungen Menschen sind gekonnt eingefangen. Mit einfachsten Mitteln wird ein Bühnenbild erstellt, das die Aussage der Inszenierung unterstreicht. Kostüme und Lichttechnik zaubern eine faszinierende Theaterwelt, die Martin Schulte-Kellinghaus mit seiner Kamera einfängt. Die Ausstellung im Hebelsaal ist eine Hommage an das Junge Theater Nellie Nashorn, die Fotos würdigen das Engagement der vielen jugendlichen Schauspieler und Schauspielerinnen. Während der Dauer der Ausstellung gibt es Theateraufführungen im Hebelsaal des Museum am Burghof, die eine lebendige Begegnung mit den Fotos schaffen.]]> info@museenbasel.ch (Basel Museum Services) Thu, 15 Mar 2012 00:00:00 +0100 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11578 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10043 Museum am Burghof, Lörrach
28.03. – 15.07.2012

Die Ausstellung zeigt die 125-jährige Geschichte des 1887 als mechanische Werkstatt in Lörrach gegründeten Unternehmens, das heute weltweit als einer der führenden Hersteller von Maschinen für die Bearbeitung von Stahl gilt. Der Familienbetrieb, mittlerweile in der vierten Generation, spiegelt exemplarisch neben der Technik- und Wirtschaftsgeschichte auch politische und sozialen Veränderungen wider und wirkt daneben über seine integrativen Stiftungen als regionales Netzwerk für die Bedürfnisse der Menschen.]]> info@museenbasel.ch (Basel Museum Services) Wed, 28 Mar 2012 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10043 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10263 Augusta Raurica, Augst
29.03.2012 – 01.2014

Roman travellers were greeted at the gates of Augusta Raurica by an ostentatious funerary monument of a confident individual which paid homage to his influential family. Nowadays the monument stands in front of the east gate and, surrounded by an idyllic animal park with rare old breeds, transports visitors back in time. Grazing pigs, sheep, goats, donkeys, peacocks, grey geese, living animals of the kind the Romans had and their history as well as ancient ruins and a panoramic view of the historical skyline all paint a vivid picture at the entrance to the Roman metropolis of what life must have been like 1800 years ago and invite you to take an enjoyable and educational walk in the newly designed park outside the gates of the ancient town.]]> info@museenbasel.ch (Basel Museum Services) Wed, 28 Mar 2012 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10263 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11505 Kunsthalle Basel
01.04. – 28.05.2012

Monumentality and national identity - within and beyond borders - are important topics in Aleksandra Domanovic’s work, which often takes place on the internet as well as she broaches this issue in a reflexive manner. From yu to me, Domanovic’s title for her exhibition at Kunsthalle Basel, describes the breakup of former Yugoslavia. The deactivation of the international, countryspecific, and top-level domain .yu (the internet country abbreviation for the nation) in 2010 can be understood as the final, symbolic elimination of the state of Yugoslavia. Yet, as the existing national identity is banned from the internet, new identities emerge. The federated states become indepen- dent and receive their own presence within the virtual world. Montenegro is registered under the domain .me and hence has also virtually become a state of its own. To that end, Domanovic repeatedly refers to this political dimen- sion of the internet in the context of Yugoslavia’s complicated late history. Beyond her dealings in the virtual world, Domanovic explores the more indirect effects of Yugoslavia’s breakup by working with its cultural artefacts - namely, the public monuments that can be found in all parts of the for- mer Yugoslavia. These historical remains play a prominent role in the col- lective memory of the inhabitants of new post-Yugoslav states. Accordingly, Domanovic’s practice is a consistently subjective one based on her child- hood memories, as opposed to one steadily engaged in her region’s current affairs. Born in 1981 in Novi Sad, in the former Yugoslavia, Domanovic studied in Ljubljana and Vienna, and then moved later to Berlin, where she continues to live and work today. Nevertheless, and most tellingly, a visit to her website aleksandradomanovic.com is much more worthwhile and informative than a visit to her studio in Berlin. Domanovic makes use of digital media, which she quotes, transforms, and archives for her artistic work. She runs the mostly visual blog vvork.com with three colleagues, which is just one example of how the artist positions herself as mediator, and how she uses the digital archive of images as her very work material. For her exhibition at Kunsthalle Basel, Domanovic will show a series of new sculptures as well as further developed versions of previous works. Her paper-stacks (2009 and ongoing) are comprised of A4 and A3 sheets of paper piled into steles. By printing the sheets full-bleed on the margins only, an image is formed on the lateral sides of the stack through the accumu- lation of thousands of sheets piled up. In the paper-stacks, the query of monumentality is as important as the visualisation of content sourced from the internet. Single specific files downloaded and printed from the internet form the steles of the respective groups. Their subjects, varying from images of football hooligans to the ruins of the former Hotel Marina Lu?ica situated on the Croatian coast, belong to the symbolic iconography of the new states that emerged after Yugoslavia was dissolved. A stack that presents an im- age of the Plitvice Lakes National Park, a registered UNESCO World Heritage, functions as a connection to the region in general, as well as part and parcel of the artist’s personal memory. Domanovic visited this park one year be- fore the so-called Plitvice Lake Incident, the first confrontation of the Croa- tian War of Independence. Nevertheless, the park is part of a now disbanded collective memory, as it is one of the biggest tourist attractions in the for- mer Yugoslavia. With her video work 19:30, Domanovic refers to an experience that every- one shared in the former Yugoslavia. At 19:30, the national Yugoslavian tele- vision broadcasted the news nationwide. But the artist’s 19:30 is a compi- lation of the news jingles from that former national news station and their transformations over the years. Domanovic combines the jingles with their remixes, exclusively commissioned by her, and thus refers to a techno- culture in which the music genre cannot be ascribed to one nation, but instead emerges from an itinerant youth culture that makes national borders obsolete. By these means Domanovic emphasises how shared experiences can change and constitute an identity, especially by use of the internet as an archive and a platform of exchange. 19:30 can be shown as two-channel video in exhibitions; the artist also adapted sound remixes and parts of the video for Techno parties. Collective experiences also play an important role in Domanovic’s video work Turbo Sculpture (2012). The term “Turbo Sculpture” designates figurative sculptures that can be currently found everywhere in the former Yugoslavia. Unlike war memorials, these public monuments do not refer to a common history of a specific site or occurrence; they are based, instead, on modern popular culture that knows no genius loci. Instead of war heroes, who would have been immortalized by classical monuments, local authorities now de- cide to eternalize Hollywood stars and heroes of the Western world in bronze and other materials. Bruce Lee, Johnny Depp, Rocky Balboa, and other film characters or public personae (here the real and the fictive figure blur) pro- vide new points of identification for the community. The verbal reference of Turbo Sculpture to the term Turbofolk, the regional pop music, suggests that those sculptures remain neutral in the turmoil of political disputes. In the end, Turbofolk became a regional pop music that was not only com- posed of music from the performers’ own regions; it also captured folk music from other countries, including in the Middle East and the Mediterra- nean area. In the early 1960s, classless and stateless societies were seen as utopias embodied by the Non-Aligned Movement. Many countries from the Middle East and Africa, like Morocco, Syria, or Pakistan, joined this move- ment in order to emphasise their neutrality during the Cold War. With the idea to create a work that relates the history of the former Yugoslavia with the culture and tradition of Morocco, Domanovic recently created a se- ries of sculptures coated with Tadelakt, a finishing material typical of the North African country. Reminiscent, as they are, of the language of abstract forms employed in monumental sculptures in Central and South Europe, the appearance of Domanovic’s works is complicated by the use of mate- rial and technology rooted in a local vernacular tradition. This tension, then, addresses both the exoticization of local craftsmanship and the alienating function of high art’s seemingly universal modernist idiom. A case in point is a series of works Domanovic developed around Ivan Saboli??’s monument of three raised fists at the Bubanj Memorial Park in Niš, Serbo-Croatia. For her work, the artist translated the three fists into reliefs and a freestand- ing, open-air sculpture for the Marrakech Biennale. At Kunsthalle Basel, Domanovic presents the reliefs with red Tadelakt finishing hung on the wall next to a new work, which itself takes on Bogdan Bogdanovi?’s 1960s mon- ument Partisanen-Nekropole in Prilep, Macedonia. Treated with Tadelakt, the sculpture obtains an artificial patina, evoking the historical monument that inspired it. The sculptures on view at Kunsthalle Basel are accompanied by one large print: it features a computer-generated rendering of the “regendered” pro- file of the former president of Yugoslavia, Josip Broz Tito. The masculine per- sonification of nation-building is represented here with subtly female facial features. In Yugoslavia, every school classroom once displayed a portrait of Tito on a wall in front of the pupils. Domanovic captured the resemblance of one of her former female schoolteachers to the former president and created a portrait merging both. By using artificially generated brass as a surface of the profile, the picture becomes even more elevated and refers to the steady presence of the monumental character “Tito” in the common mind. And it is this repeated admixture of collective and personal experiences that persist and reappear long after the break-up of Yugoslavia that is the very heart of Domanovic’s practice. ]]> info@museenbasel.ch (Basel Museum Services) Fri, 30 Mar 2012 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11505 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11508 Kunsthalle Basel
01.04. – 28.05.2012

Kunsthalle Basel is pleased to present Morgenlied (Morning Song), an exhibition by Latifa Echakhch and David Maljkovic. The show came into being as a result of the artists’ shared, albeit differently motivated and articulated, interest in Modernist language of forms and the ideologies that used to support it. Sharing a similar poetic sensibility, Latifa Echakhch and David Maljkovic named their exhibition after the title of a poem by Johann Wolfgang von Goethe from 1773. The architect Johann Jakob Stehlin used the initial lines of Künstlers Morgenlied (Artist’s Morning Song) in 1868 as the motto for his competition design for the construction of the Kunsthalle Basel. The first lines of the poem are “Der Tempel ist euch aufgebaut | Ihr hohen Musen all“ (The temple is built for you | All you high Muses). They describe the imagined future role of the Kunsthalle Basel – that of a temple dedicated to the arts. The architecture of the Kunsthalle’s main space, the “Oberlichtsaal”, with its neoclassical details and monumental skylight, is typical for the 19th century and may be read as a belated symbolic embodiment of the idea of the Enlightenment. While considering the historic architecture of the Kunsthalle, Latifa Echakhch and David Maljkovic have produced works that engage with the space and radically transform its expression. Latifa Echakhch was born in El Khansa, Morocco in 1974 and today lives in Martigny in Switzerland. Her works, ranging from site-specific installations to videos, performances and sculptures using found objects, investigate the phenomena of cultural transfer and the accompanying disintegration and reconstitution of displaced identity. Echakhch uses culturally stereotyped artefacts that relate to specific contexts of use and production, such as flagpoles, Moroccan tea glasses, carpets, and materials such as couscous, Indian ink or clay bricks, modifying the connotations these objects carry. Shifting between the poles of foreignness and familiarity, the objects and materials are recontextualised in unexpected configurations and assume new meanings. In her installation at the Kunsthalle Basel, another recurrent topic of Echakhch’s artistic work comes to the fore: her concern with marking the surface. This new site-specific work consists of a monumental painting executed in black ink on the skylight of the exhibition space. The black ink drops on the glass produce a play of light and shadow in the space. The painting covers over 80 square metres distributed on the 96 fields of the skylight. Contained within the existing grid, it respects the historic architecture and is set in careful dialogue with the building, but on the other hand it is clearly recognisable as a contemporary intervention. The main feature of the historical space, the skylight, is highlighted in its grandeur, but at the same time its original function, to let light in to evenly fill the space, is radically compromised. With its imposing height and oak-wood parquet floor, the “Oberlichtsaal” was designed in 1869 to accommodate the so-called “Petersburg hanging” of paintings and it can be thus considered a swan song of the 19th century bourgeois culture, associated with the Academy and Salon exhibitions. With the advent of the neutral “white cube” gallery space in the 20th century, this temple-like room has become a splendid obsolescence. Latifa Echakhch uses the skylight as her canvas. Her paint is Indian ink, a traditional writing and drawing material invented in ancient China. The title of this work is Enluminure (2012). It refers to light and the notion of enlightenment as much as to the traditional art of illuminating manuscripts. However, in stark contrast to illuminating, Latifa Echakhch’ painting is carried out in black only. Instead of a figurative painting or abstract ornament, the artist has spilled and dripped the ink onto the glass, a procedure reminiscent of Jackson Pollock’s practice when creating his abstract expressionist paintings. Another work by Latifa Echakhch on view, chapeau d’encre (2012), consists of six black hats turned upside down and strewn across the floor, as if blown off of someone’s head. These are filled halfway to the brim with what seems to be black ink. A material connoting writing, be it personal letters or romantic poetry, the ink-in-the-hat seems to allude to a wider metaphor for human thought – expressions such as “dark thoughts” come to mind, or the lines from Paul Celan’s Todesfuge (Fugue of Death, 1948): “Black milk of daybreak, we drink it at nightfall | we drink it at noon in the morning we drink it at night.” The liquid is in fact only a thin layer of ink, poured and dried onto layers of solidified resin. The work, impenetrable and modestly scaled, mirrors the black drops obscuring the surface of the skylight above it, The installation on the walls carries the title Morgenlied (2012) – which also provides the title to the entire exhibition. The work displays a standard modern picture hanging system, whereupon instead of hanging paintings, Echakhch uses the wires and hooks to produce an abstract linear composition on the wall, similar to a score for a song. Through the double absence of visible paintings and audible music in the installation, Echakhch relies on the evocative power of the form of the notation systems itself. David Maljkovic was born in 1973 in Rijeka, Croatia and is today living in Zagreb. In the main exhibition space, the artist employs a reduced formal vocabulary of Modernism in a specially built display structure (one long wall with additional walls built perpendicular to it), which serves as a frame for several works nestled in its nooks and corners. The work, A Long Day for the Form (2012), consists of a large studio reflector panel lit by a single spotlight. Reflected light is directed into a corner from which the sound of chirping crickets can be heard. The monotonous sound of the crickets activates and enlivens the space, but at the same time evokes memories of long, hot, exhausting summer days. The work installed some metres further down on the same wall is part of temporary projections (2011), a work that features a 16mm projector with no film on the roll. The empty rectangle of light it projects on the wall evokes an already historical, generic image of cinema in its “Independent” or “Avantgarde” age. Also titled temporary projections is the large illuminated black umbrella – an important tool in a photographer’s studio – turned towards the wall. Hidden behind it, as in a miniature Plato’s cave, visitors find two small paintings, one dark-blue, the other grey monochrome, with two drawings of plants scratched onto the surface of paint. One of the plants seems to be installed on what looks like a tripod for a studio light, with a small circle of light below it, to which some of the plant’s stalks and leaves seem to reach, as if growing downwards instead of upwards. The fourth part of the installation, Untitled (2012), is a large plant, obviously a prop of domestic scale “tropical modernism”, squeezed into a roofed corner. The installation addresses (and redresses) forms that were developed as common language of international modern movement. Maljkovic’s other works often spoke of vanishing and near-forgotten modernist monuments in the former Yugoslavia, where important buildings from the Communist era are slated for destruction despite their pioneering, visionary architecture, architecture that was once considered the epitome of a social utopia. Sparsely enlivened by simple props and specially made works, Maljkovic’s installation at Kunsthalle Basel opens up contradicting temporalities: on the one hand the display structure may have been emptied of artworks; on the other hand, the projector and empty walls represent the possibility of a future presentation. The installation can thus be read both as a symbol of the absent past or of a history yet to be materialized, or a future that may never arrive – the sense of longing in Maljkovic’s work reaches in both directions on the axis of time. Conflicting notions of time can thus be said to be a central concern in David Maljkovic ´s work. Whether he focuses on the present state of the obsolete monuments in the former Yugoslavia, or examines the very condition of a given exhibition through a meta-installation of “displays”, Maljkovic captures the inertia experienced in these spaces of memory and how ideologies are put to rest. Having located these frozen instants of non-action, that once constituted a living history, the artist restages them in relation to the present, objective-driven course of events. It is left to visitors to make the promises of the heroic history come true.]]> info@museenbasel.ch (Basel Museum Services) Fri, 30 Mar 2012 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11508 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=9840 Kunstmuseum Basel
01.04. – 12.08.2012

In the early 1870s, Auguste Renoir was among the French painters who founded Impressionism. With bright palette, loose brushwork and motifs from modern urban life and social recreation in natural settings, he and his fellow innovators wrote art history. The Kunstmuseum Basel now presents a grand survey exhibition, the first show to focus on the artist’s surprisingly complex early work, up to and including the first eminent Impressionist paintings. ]]> info@museenbasel.ch (Basel Museum Services) Fri, 24 Jun 2011 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=9840 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10361 Museum.BL, Liestal
20.04.2012 – 30.06.2013

The Museum.BL is dedicating an interactive exhibition to lies and scams. For lies make the world go ‘round, even though morality essentially demands honesty. It is said that we all bend the truth to our own ends as many as 200 times a day. These little games run the gambit from minor fibs to great big fat nasty lies. Lies are in our blood. Even some animals and plants are successful tricksters. But why do people lie? What emotions drive the desire to lie, and how do the duped feel? And is the truth really and truly so utterly obvious? ]]> info@museenbasel.ch (Basel Museum Services) Wed, 18 Apr 2012 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10361 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10162 Spielzeug Welten Museum Basel
21.04. – 07.10.2012

In the special exhibition “Christening and much more”, the Toy Worlds Museum Basle presents over 450 unique objects associated with typical christening customs over the last three centuries. They provide fascinating insights into the origin of the different christening customs and traditions. Among the hundreds of exhibits are many highly coveted collector’s items. Pride of place probably goes to the elaborate silver rattles with coral in countless shapes. One attractive part of the special exhibition is devoted to christening gifts. The first evidence of the custom of godparent gifts comes from 13th-century Germany. The exhibition allows the development of this tradition to be traced over the centuries. Among the most popular gifts given by godparents to this day are money as well as mugs, cutlery and christening plates that accompany the godchild his or her whole life long. The wealth of examples is remarkable. Particular mention must be made of the elaborate christening gowns and fine christening cushions in silk with Brussels lace as well as christening cards, the oldest of which in the exhibition dates back to 1819. Many original photographs provide an indication as to how a baby would be decked out for its christening in those days. So, look forward to a wonderful form of time travel! To accompany the special exhibition, there will also be a competition: 25 Reborn Babies from the exhibition are to be christened. Anyone entering the competition via the Internet or directly in the museum can win one of three valuable Reborn Babies. ]]> info@museenbasel.ch (Basel Museum Services) Sat, 21 Apr 2012 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10162 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11153 Museum der Kulturen Basel
26.04. – 15.07.2012

South African artist Justin Fiske has been invited by the Museum der Kulturen to transform its new upper storey into a space for reflection in a playful and poetic way. He will use thousands of stones gathered from the Rhine to create complex installations with simple mechanics that can be set in motion and explored by visitors. In the exhibition, these delicate stone formations enter into a sensuous dialogue with the architecture of Herzog & de Meuron. With carefully selected objects from the collection of the Museum der Kulturen they broach the topic of our transient human existence and the universality of coming into being and forging an identity.]]> info@museenbasel.ch (Basel Museum Services) Wed, 25 Apr 2012 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11153 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11987 Museum der Kulturen Basel
26.04.2012 – 20.01.2013

Mit der Ausstellung "Schimmernde Alltagskleider" richtet das Museum der Kulturen die Aufmerksamkeit auf einen interessanten Aspekt innerhalb der kunsthandwerklich einmaligen Kleidermode der Miao-Gruppen. Damit knüpft das Museum an eine Tradition an, nämlich einen Teil ihrer Textilsammlung, die von Weltruf ist, auszustellen. Die metallisch schimmernden Röcke der Mi-ao-Frauen sind Handwerkskunst in Vollendung.]]> info@museenbasel.ch (Basel Museum Services) Wed, 25 Apr 2012 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11987 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10804 S AM Schweizerisches Architekturmuseum
29.04. – 29.07.2012

During the night of New Year’s Eve, December 31, 1922, the first Goetheanum in Dornach burned down, one of the most unusual buildings of its time; the only evidence today giving an impression of the building that had only recently been finished are photos. Produced by Gertrud von Heydebrand-Osthoff, who had studied as a painter, at 2002/2004 the photography ended up in the possession of the Basel-Stadt State Archive. The exhibition of SAM features the photo series and its meaning in relation to the reception and popularization of the first cult building in Dornach. Stronger as the subsequent second Goetheanum, the first Goetheanum was erected as a collective building, as a construction by and for a community, which is the second theme of the exhibition, a cooperation of S AM with the Basel-Stadt State Archive.]]> info@museenbasel.ch (Basel Museum Services) Sun, 29 Apr 2012 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10804 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11859 Spielzeugmuseum, Dorf- und Rebbaumuseum Riehen
02.05. – 03.06.2012

Ein kleiner Blick über Europa hinaus]]> info@museenbasel.ch (Basel Museum Services) Wed, 02 May 2012 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11859 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=9846 Kunstmuseum Basel, Museum für Gegenwartskunst
12.05. – 16.09.2012

The Museum für Gegenwartskunst is delighted to present the first Swiss survey exhibition of the art created by the British artist Hilary Lloyd (b. 1964; lives and works in London). Lloyd already spent a year in Basel in 2001 as a visiting fellow at Stiftung Laurenz-Haus, and so her new video works explore a terrain the artist is familiar with: the city and its surroundings. Working primarily with a video camera, she records pictures of the modern city and its implicit potential as a site of voyeurism and fetishism. In studies sometimes created over extended periods of time, she produces haunting and sexually ambivalent films that show people engaged in the specific rituals of their everyday lives: workmen, waiters, skaters, and clubbers become the subjects of her investigation. Hilary Lloyd was among this year’s nominees for the prestigious Turner Prize.]]> info@museenbasel.ch (Basel Museum Services) Fri, 24 Jun 2011 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=9846 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10508 Fondation Beyeler, Riehen/Basel
13.05. – 02.09.2012

Jeff Koons (b. 1955) is one of the best known and popular artists of the present day, who since the 1980s has caused a furore with art that refers directly to current pop culture. The Fondation Beyeler's Koons exhibition is the first ever to be shown in Switzerland. It focuses on three extensive groups of works from different periods, each of which lastingly shaped the development Koons's oeuvre.]]> info@museenbasel.ch (Basel Museum Services) Fri, 11 May 2012 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10508 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10229 Vitra Design Museum, Weil am Rhein
17.05. – 16.09.2012

Dutch architect and designer Gerrit Rietveld was one of the most important representatives of modernism. He created icons such as the Red Blue Chair and the Rietveld Schröder House, transferring the rigorous compositions of Piet Mondrian and other members of the De Stijl movement into objects and space. The exhibition wants to shed light on the life and work of the Dutch architect and designer Gerrit Rietveld. In particular, it looks at Rietveld’s personal and professional environment, thus revealing, who he was inspired by and who, in return, he influenced.]]> info@museenbasel.ch (Basel Museum Services) Wed, 16 May 2012 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=10229 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11685 Ausstellungsraum Klingental
20.05. – 24.06.2012

Thomas Baldischwyler, Stefan Burger, Olivier Castel, Francis Frederick, Laure Prouvost, Kirsty Roberts, Kilian Rüthemann, Manuel Scheiwiller, S/Z For the 2012 exhibition season at Ausstellungsraum Klingental, the curators - John Beeson, Manuel Scheiwiller, and Zayne Armstrong - propose an exhibition comprising recent works by international artists. The subject of the exhibition hinges on contemporary approaches to the perception of viewers, specifically as it relates to the pressing themes of the context of an artwork's display, self-aware artistic expression, and the appropriation or manipulation of realities. Beeson, Scheiwiller, and Armstrong have been developing a long-term, multiform collaboration over the course of the past six months, and this exhibition would be the first manifestation of those efforts. The collaboration, given the working title TeMPo, focuses on the interest that each individual has in the expansion and engagement of their communities, the diversification of each’s practice (to include curating, publication, and online presentations of work, images, and information) as well as the establishment of a relevant and productive dialogue between the three up-and-coming creatives. As such, the constellation of proposed artists represents lines of activity in three distinct areas of the contemporary art world (Berlin-Beeson, Basel-Scheiwiller, and London-Armstrong), with its three curators as points of connection. In fact, the word „curator“ is not fully accurate for describing the individual practices of the exhibition organizers, since they are elsewhere active predominantly in the areas of criticism (Beeson) and artistic production (Scheiwiller and Armstrong); however, this very diversification and stretching of activity is dually foundational for the thematic of SWEETS IN JARS, SEEDS IN BAGS, JARS IN STORES, BAGS IN STORES.]]> info@museenbasel.ch (Basel Museum Services) Sun, 20 May 2012 00:00:00 +0200 http://www.museenbasel.ch/fr/musees/manifestationdetails.php?id=11685