Sound of the Earth – Ceramics in Contemporary Art

SOUND OF THE EARTH / CERAMICS IN CONTEMPORARY ART

The international group exhibition on ceramics in contemporary art is the first exhibition in Switzerland to explore current approaches to this medium. It focuses on artists for whom ceramics have become a core element of their practice, whether as the sole medium or in parallel with painting, sculpture or other media. The exhibition brings together works that experiment with the sculptural potential of ceramics, blurring the boundaries between high art and craft.

Traces of the Past / Architecture of the Present

The works shown here are reminiscent of past cultures and archaeological finds and relate to the legibility of landscapes and their formations. The room invites visitors to reflect on how people interact with the earth and the remains of past civilisations and how these interactions can be captured in the form of works of art. The use of ceramics as an artistic material raises questions about the continuity and fragility of human history and culture in different ways and reflects on the meaning of architecture, power and ritual in the past and present.

Isa Melsheimer is known for her works that often combine architectural elements with a particular sensitivity for materiality and form. The themes of nature and landscape are other aspects of Melsheimer’s reflection on humanity’s survival, including its relationship to the environment and sustainability. In many works she combines sources from the natural world with examples from the built environment, equally important as the fundamentals of human existence. The sculptures from the Hochhaus series refer to urban landscapes and the topography shaped by people. Departing in scale, material and colour from their sources, they are closer in spirit to organic structures than to the elongated high rise buildings.

Shahpour Pouyan’s technical virtuosity is the result of extensive experimentation with and research into material, form and colour in the ceramic medium. He fuses historical and contemporary techniques that are inspired, for example, by methods and styles in 12th century Kashan, Iran. The figures of Hannibal, the Carthaginian general and Xerxes, the Persian ruler belong to a group of terracotta pieces depicting well-known figures from history whose reputations are shrouded in mystery. Pouyan juxtaposes the fragile nature of the material with the themes of power and history, with archaeology playing a role in his work as a kind of ‘layer of the past’.

Martin Chramosta also explores the possibilities of the material using traditional and modern techniques and creates works that may recall biomorphic sculptures, while Caroline Achaintre’s mask-like ceramics are reminiscent of African and prehistoric art as well as ritual representations. Their symbolism refers to customs and ceremonial practices of past or present cultures that are deeply rooted in human history and hint at archaeological significance.

Architecture and Symbolism

The works presented in this room explore the relationship between architecture, symbolism and physicality. The artists explore the idea that architecture is more than just a func-tional building – it can also carry cul- tural, emotional or aesthetic meanings.

Glazed ceramics are the main medium for Isa Melsheimer’s exploration of the minimalist styles of Modernism as well as concrete architecture from the 1950s to ‘70s. In her model-like sculptures she combines research in-to the utopian ideals of figureheads such as Le Corbusier and Mies van der Rohe with a spirit of fantasy and playfulness. The wood, glass and concrete of her sources remain inherent in Melsheimer’s translation into ceramic, as though, by returning repeatedly to the fundamentals, she extracts their essence. The themes of nature and landscape are other aspects of Melsheimer’s reflection on humanity’s survival, including its relationship to the environment and sustainability. In many works she combines sources from the natural world with examples from the built environment, equally important as the fundamentals of human existence. The severe planes of the works false ruins and lost innocence 3 (2020) are occupied by a (once innocent) horse’s head, depicting both an archaeological investigation into forgotten buildings and the stage set for an apocalyptic theatre production.

Clare Goodwin’s ornamental ceramic wall piece may evoke classical archi-tectural ornamentation, but it also raises questions about the meaning of ornament and its role in architecture as a carrier of cultural meanings and social symbols. Since 2018 the artist has been developing a series of wall-based ceramics as an extension of her painting practice. The distinct visual language of her abstract paintings – geometrically precise, hard-edge compositions, reduced to line, form and colour – informs her increasingly ambitious experiments in hand-built ceramics. Inspired for many years by interior design and fashion history of the 1970s and ‘80s, in her ceramic work Goodwin makes reference to the material qualities, patterns and colour combinations of found ceramic objects, interested primarily in the imagined narra-tives and socio-political contexts that these contain.

Martin Chramosta explores the idea that architecture not only shapes the human environment, but also reflects human existence. In the Colloc [Co-inhabitants] (2023) series, he takes up design, symbolic or functional elements that he finds in architectural structures in urban space. He copies, isolates and condenses the signs he finds and draws attention to the meaning of their symbolism. His works often play with a socialist aesthetic and with the awareness that architecture is also a vehicle for political statements.

Architecture and Identity

In these works, ceramics are used as a medium to develop utopian architectural concepts and symbolic representations of power, identity and memory. Architectural forms are reinterpreted and linked with cultural, social and ideological questions.

Shahpour Pouyan’s ceramic sculptures combine intellectual depth with meticulous craftsmanship and the expression of ideas in a succinct and poetic visual language. He researches history, politics and contemporary events, focussing in particular on the theme of power – whether military, political, or religious – and the traces of collective and individual memory that objects and monuments possess. The series Untitled (2019; 2021) continues an earlier installation of towers, domes, roofs and minarets that represent royal palaces and mosques in the same miniature scale and earthly material. Pouyan was inspired to make the work after taking a DNA test in 2014 that revealed an ancestry stretching far beyond Iran to 33 countries. The architecture of each one is represented by a roof structure distinctive to the locale, mapping the artist’s identity whilst making a subtle argument against nationalism and race. The ‘monuments’ in Untitled are also a synthesis of real Iranian architectural examples and the artist’s own imagined constructions of towers.

Nicole Cherubini uses ceramics to reinterpret classical forms and create alternative, subversive architectures. In her work Lethykos Amphora (2007), she breaks with traditional amphora forms and introduces an organic, chaotic aesthetic that focuses on the expressive power of symbols and forms.

Martin Chramosta’s works are char-acterised by a balance between form and function. The works FUR and Caccia (both 2022) are reminiscent of mechanical structures and at the same time take up an antique visual language, symbolising the decay and change of architectural constructions that shape our environment.

Fragile Monuments

The works in the fourth exhibition room take a subversive approach to the traditional functions of monuments. Ceramics, a material with a long history, is used to deconstruct these monuments and, with its fragile material, to examine the disproportions of cultural symbols.

While Mai-Thu Perret’s practice encompasses sculpture, painting, draw-ing, performance and sitespecific installation, ceramics are a key aspect of an artistic cosmos formed by
material relationships, cultural refer-ences and feminist narratives. Her experimentation with a wide range of techniques, as well as approaches to colour and texture have resulted in ceramic objects of widely varying scale, conceptual nature and subject matter. Minerva I (2022) is based on a digital scan of an ancient statue of the Greek goddess of wisdom, war and the arts. It is, however, a homage to Carolina (1869–1959), a countess from Ticino and wife of Emilio Maraini. Although they together designed the villa now home to the Istituto Svizzero in Rome as a social project, few traces of her remain in either the noble residence or in history.

Nicole Cherubini uses ceramics as a material to question old traditions of art history. She refers to the concept of ‘vanitas’, which was frequently used in painting, especially in the Baroque period, to depict the tran-sience of life and material wealth. In Cherubini’s work, this theme is reinterpreted through her ceramic sculptures. She uses the traditional form of vanitas representation to thematise destruction, decay and the play with memory. The works appear brittle, fragile and sometimes oversized, alluding to the fragility of human existence and the limited temporal significance of monuments. Amphora Hydria (2007) is a mixture of traditional forms of ancient jugs and modern, experimental elements. The amphora, a classic symbol of culture and memory, is shown here in a distorted, broken form that makes a subversive comment on the idea of monuments and their lasting significance.

Vulnerable bodies, strong bodies

In this room, the artists explore the depiction of the human body, its vulnerability and the limits of the human in different ways. With numerous references to art history and popular culture, they explore the relationship between the body and the subconscious.

Paloma Proudfoot works within a variety of media, including sculpture, textiles, text and performance, draw-ing together personal narratives, historical research and contemporary references. Informed by her back-ground in dress-making, her ap-proach to producing wall-mounted friezes is based on the process of flat pattern-cutting. Proudfoot translates her ideas for groups of figures in paper templates before realising the work in glazed ceramic, glass, metal and textiles. The resulting tableaux recall numerous sources, from Frida Kahlo’s images of her own broken and sewn together body, via the fantasy played out in literature or film of unsuspecting victims turned into stone, to the relationship between the human body and its artificial double, from medical anatomical models to shop window mannequins. Although the ornate installations are seductive and the glazes created in exquisite tones that shimmer and combine, they expose the limits and vulnerabilities of the human, particularly female body. The figures in Gardening (2024) convey the connection between the body and the unconscious: cloth and skin merge in the fitting of corset-like clothes, arrangement of hair or the dress ironed whilst worn by a female figure perched on a table.

Caroline Achaintre works in various media such as tapestry, drawing and ceramics. She transfers traditional techniques into the present and explores the boundaries between ab-straction and figuration. Geometric, mask-like shapes and wondrous, animal-like figures appear in her ceramics, challenging our usual perceptions and shifting classical attributions. Achaintre’s sources of inspiration are images from high and popular cul-ture. In addition to art historical references such as primitivism and the Arts and Crafts movement, the genres of horror, heavy metal and science fiction are just as important to her as the subversive spirit of Central European carnival and Shrovetide customs. Achaintre’s work is charac-terised by the lively, colourful and humorous as well as the archaic, dark and mysterious. Some ceramics appear grotesque due to their incisions in the clay and can suggest violence and vulnerability. However, these violent elements are never overtly confrontational, but subtle and enig-matic, which makes the works all the more intense and multi-layered.

Geometry and Poetry

These works have a strict geometry in common, but they open up a poetic dimension through their lyrical titles. They illuminate the fragile yet powerful relationships between nature, culture and human experience.

Edmund de Waal creates small, unique ceramic vessels that he composes in wall-mounted and freestanding vitrines. Combining skills with ceramics acquired early in his career in Japan with a profound knowledge of history and culture, de Waal responds in his lyrical ceramic installations to collections, archives or the history of a specific place. Often inspired by a line of poetry, a piece of music or an idea, his delicate minimalist ceramics frequently allude to memories, human connections, or the relationship between tradition and modernity.

The title The Withered Tree Flowers in a Spring Beyond Time II (2021) evokes a mixture of transience and renewing power, with ‘withering’ alluding to death or decay, while the ‘Spring Beyond Time’ implies an otherworldly, supratemporal dimen-sion. In this work, Mai-Thu Perret deals with the cycles of nature, rebirth and memory, so the reference to a tree bearing blossoms offers an image of both destruction and renewal. Art historical precedents and their cultural contexts inform works such as Color it red or blue still you can’t paint (2016), a white geometric piece that echoes Sophie Taeuber-Arp’s visionary development of abstraction across art, design and architecture.

Nature and Poetry

People, animals and plants form the frame of reference for the works, which are orientated towards organic forms, but also towards an abstract vocabulary. Furthermore, both artists open up an additional level of meaning with the titles of their works.

Carmen D’Apollonio’s practice is focused almost exclusively on the medium of ceramic (occasionally producing pieces in bronze), which she uses to create sculptural lighting. Fusing the artistic with functionality, she also experiments in these pieces with the relationship between abstraction and figuration. At the heart of her work is the human body, which she depicts in simplified, organic forms, influenced by classical modernist artists such as Jean Arp or Diego Giacometti. Nature and architectural spaces are also important visual references for her lamps and vessels (such as There is no way out (2023)). D’Apollonio’s artistic process starts with sketches, which she then translates into clay, developing the object intuitively and organically. The titles of her work, ranging from the comic to the melancholic, evoke possible narratives for her suggestive, open-ended compositions.

Mai-Thu Perret’s focus on alternative perspectives includes a feminist approach to the forgotten stories of women and the interactions between the human, plant and animal worlds. Forms reminiscent of a leaf, an animal head, or lily pads, as in The merging of all into one – this cannot be grasped (2020), are created as reliefs from glazes made in delicate tones, with the precise working of clay leading to intimate gestures.

Abstraction and Figuration

The works in this room bear witness to the artists’ intensive exploration of form and material, texture and colour. Here, too, there are strong references to nature, which are placed in a relationship to people. Above all, however, the connection between ceramics and the medium of painting and the intertwining of abstraction and figuration take centre stage.

Caroline Achaintre moulds the clay by hand and creates surfaces that are characterised by their structures and textures. She adds glazed and unglazed areas to these to create different visual and tactile impres-sions. The artist utilises the mate-riality of clay to create sculptures that appear both organic and gestural. She transforms these abstract forms into fantastic, sometimes menacing-looking creatures. Her ceramics, such as Krazzt (2022), show grotesque and mask-like faces that combine human, animal and plant features. These figures appear familiar and alien at the same time, which creates an uncanny tension.

Isa Melsheimer’s Snake Grass VI and VII (2024) are based on nature, but differ in scale, material and colour from the original inspiration. The plant appears dynamic, as if it were in motion. The colours chosen for the glazing of the ceramic reinforce the impression of the fantastic, while the white areas in combination with the blurring of the colour emphasise the joints of the stems. With the large-format glazed ceramic, the artist refers to snake grass (Equisetum hyemale), an invasive and aggressive ornamental plant that, when left in the wild, becomes a serious threat to the native flora due to its rapid proliferation. The work encourages reflection on human intervention in nature and conveys the idea of a threat emanating from nature itself.

Mai-Thu Perret’s works From the leaves of the sandalwood tree a fragrant wind rises (2020) and Right now, fundamentally there is not one thing (2020) not only bring archaic symbolism and figuration into a dialogue, but also illustrate approaches to formal abstraction that point to an ongoing exploration of the medium of painting and the potential of painterly transformation. Based on the valorisation of arts and crafts and ornamentation in the avant-garde movements of the 20th century, Perret pursues an artistic practice in which ceramics are no longer just a part of domestic decoration, but an important expression of a feminist perspective that turns against the male-dominated art history of the West and shows possibilities of formal emancipation.

Everyday objects with souls

The works described address, in different ways, the relationship between object and space, the emotional significance of form and material, and the expression of intimacy, contemplation and spirituality.

The wall-mounted compositions letters home, II and III (2024), made of black porcelain vessels finished in gold or silver, can recall repetitive and rhythmic patterns created by musical notations, letters on a page, or the play of light and shadow on walls. The monochrome sculptures create a space for quiet contemplation and reflection. In letters home de Waal examines his relationship to the idea of home. The monumental freestanding black stoneware vessels elegie, II and IV (2023) and elegie VIII (2024) are inscribed with text fragments inspired by Rilke’s Duino Elegies. The individual words and sentences, in connection with the mysterious inner life of the clay vessels, enhance the intimacy of these sculptural objects.

Clare Goodwin creates assemblages in which she regularly integrates ceramics. She juxtaposes elements of pre-owned furniture with the ceramic wall pieces and draws on the aesthetics of the veneered wood in the colours and forms of these works. The arrangements of geometric elements such as rectangles, lines, circles, diamonds and squares, which play a central role in Goodwin’s painting, are also the main features of her ceramics. These are based on small abstract watercolour paintings and demonstrate her growing interest in the sculptural properties of objects and reliefs that extend into real space. She herself describes these three-dimensional reliefs as ‘stillscapes’, which serve as both intimate, social and conceptual spaces.

Woody De Othello creates multi-disciplinary works that include sculpture, painting and drawing. He works primarily with glazed ceramics, transforming everyday objects into figurative and caricatural forms, but also anthropomorphic and animistic ones. His often brightly coloured composite sculptures appear to be animate, sentient objects. In Hope for a Prayer (2020), two arms arch out in a wide arc in a praying gesture, fixed on a stool. The work embodies an emotional state that could be interpreted as longing, hope, fatigue, resignation or even pride. De Othello repeatedly draws inspiration from different belief systems that assume that objects possess a certain spiritual essence.

Domesticity and Decay

This room illuminates the tension between domesticity on the one hand and the idea of decay and decomposition on the other. Ceramics as a material traditionally associated with the artisanal and decorative is undermined by pictorial inventions that are less ‘beautifying’ than confronting or disturbing and break up the impression of domestic order. The room is not only staged as a place of security, but also as a place of destruction and constant change, in which familiar but charged symbols are scrutinised and transformed.

Lindsey Mendick works predomi-nantly with ceramics, subverting its traditional associations with decoration and the domestic to create monuments to ‘low culture’ and the contemporary female experience. Her autobiographical work challenges the male gaze, promoting instead an uncompromising, humorous and, at times, grotesque femininity. Mendick handles the clay intuitively and physically, letting it slump and bulge in the process of forming objects that reflect everyday, ordinary experiences and banal subjects. She produces the glazes herself, regarding the process of sieving and mixing oxides and raw materials as an integral alchemical process. Reflecting with brutal honesty on the micro dramas in life and exploring emotions that are often suppressed, she subjects the conventions of traditional ceramics to personal anxieties, timeless myths and popular culture references. Ornate glazed vases are ripped from within by hands or octopus tentacles and dishes writhe with snakes. Like an anxiety dream come to life, frogs with cigarettes stuffed in their mouths crawl over discarded beer cans and spiders creep out of handbags, from which spoilt food is also spilling out.

In Canʼt have it all (2024), Carmen D’Apollonio experiments with materi-ality and gestures. After firing, she assembles small pieces into landscape-like, surreal sculptures. Her works appear to have grown organically; even strange mushrooms sprout from her sculptures like creatures from an alien planet. The mushroom as a motif has a long tradition in the history of lighting design, probably because of the analogy between lamp bases and lampshades and the shape of mushrooms. The artist adds lamp-shades to her objects, thus shifting the boundary between utility object and work of art.

Proudfoot plays with the viewer’s expectations of her materials, the filigree outline of Drinking in my eyes (VI) (2023) filled with a mesh pattern resembling fish scales and studded with thornlike spikes. The idea of nature as an unstoppable and unpredictable force comes into play and is juxtaposed with the vulnerability and imperfection of human perception. On the other hand, the prickly thorns could also indicate a kind of protective mechanism or an aggressive defence against the conventional perception of beauty and harmony.

Humour and Abyss

Humour is explored here in its multi-layered meaning, which oscillates between lightness and heaviness and raises social and cultural questions. The humorous use of materiality, form and symbolism is not only a play with the surface, but also a critical examination of the interfaces between ‘high’ and popular culture. By combining seemingly incompatible ele-ments and creating precariousness and absurdity in the sculptures, the serious but also subversive character of humour is treated as a central theme.

A key aspect of Cristian Andersen’s artistic practice is his on-going series of large, elaborately cast ceramic sculptures that playfully combine seemingly incompatible characteristics. Preferring to use found objects or materials from the building trade, the artist combines figuratively narrative elements, such as a tennis ball or dice, with forms cut from Sagex foam or polystyrene, casting these in a partially pigmented, highly dense industrial fluid ceramic. Whilst the added pigments blur the distinction between the various elements, the original material’s light and flimsy appearance, as well as the traces of the forgotten and lost, are retained in the heavy, abstract structures. Displayed on plinths, the resulting ceramic pieces play with the language of modernist interior architecture, recalling prototypes for utopian buildings. The resulting assemblages appear unfinished and precarious, their fragmentary nature and soulful energy encompassing the possibility of being part of something that was once whole. Andersen undermines the weight of meaning of abstract sculptures by playfully combining incompatible source materials and forms. The works sometimes almost appear as if they have ‘accidentally’ taken on this form and constellate into objects that seem to have their own humorous personality.

Here too, Carmen D’Apollonio combines functionality with a whimsical touch and a tongue-in-cheek sensibility. Her animated illuminated sculptures seem somehow exhausted. Mi chiamo lamp (2023) hangs inertly upside down, but at the same time its colourfulness radiates something lively and vital. D’Apollonio’s works interact playfully with the audience, entering into a dialogue with them and sometimes with each other.

Woody De Othello often creates seemingly whimsical compositions from household and everyday objects and humorously collapses them into the medium of ceramics as if they were made of a moving material. Here, too, a sense of fatigue weighs on their form. On closer inspection, the numbers on the clock face appear to have been confused with the combination of numbers on the padlock, creating a feeling of unease and confusion. The disorientation is further expressed by the symbolism of the alarm clock, which calls for waking up, in contrast to the hands of the wristwatch, which have frozen the moment. By linking time passing and torpor, De Othello speaks of a moment of both heightened political activity and overwhelming fatigue related to the dynamics of the Black Lives Matter movement and the slow pace of change. The padlock, associated with security, exclusivity and confinement, adds a sombre note to this context. Woody De Othello’s sculptures have the unsettling quality of jokes with serious undertones. His sense of humour consists of memorable visual puns, poetic ambiguity and his understanding of reality.

CAROLINE ACHAINTRE (*1969, Toulouse, FR, lives in London, UK) works with ceramics, tapestry, drawing. She transposes traditional techniques into the present, exploring the boundaries between the abstract and the representational.

CRISTIAN ANDERSEN (*1974, DK, lives in Zurich, CH) works with large, complex moulded ceramic sculptures. In them, figurative found objects and post-minimal forms of industrial building materials are transformed into a new material unity.

NICOLE CHERUBINI (*1970, Boston, US, lives in Hudson NY, US) works in the media of installation, ceramics and mixed media. With her fragile and organic ceramics, she expands traditional forms into an independent vocabulary.

MARTIN CHRAMOSTA (*1982, Zurich, CH, lives in Basel, CH and Vienna, AT) works in the media of ceramics, music, performance, text, video and drawing. In his ceramics, he examines formal and functional elements of urban building structures.

CARMEN D’APOLLONIO (*1973, Zurich, CH, lives in Los Angeles, US) uses ceramics to create sculptural lamps. Her works are orientated towards the human body and combine the artistic with the functional.

WOODY DE OTHELLO (*1991, Miami, US, lives in Oakland, US) works in the media of ceramics, painting, sculpture and drawing. He transforms everyday objects into glazed ceramics and expands them into sculptural, humorous assemblages.

EDMUND DE WAAL (*1964, Nottingham, UK, lives in London, UK) works in the media of installation, ceramics and literature. He finds a basis for his sculptural work in collecting and collections of objects and combines these with art historical research and literature.

CLARE GOODWIN (*1973, Birmingham, UK, lives in Zurich, CH) works in the media of painting and ceramics. Her wall ceramics are closely linked to her painting practice. She is interested in the role of ornament in architecture as social and cultural symbols.

ISA MELSHEIMER (*1968, Neuss, DE, lives in Berlin, DE) works in the media of installation, ceramics, painting, embroidery and textiles. In model-like sculptures made of glazed ceramics, she explores the minimalist formal language and utopian ideals of modernism.

LINDSEY MENDICK (*1987, London, UK, lives in Margate, UK) works across the media of installation, ceramics and sculpture. She subverts the associations of ceramics with decoration and domesticity, creating monuments to low culture and a contemporary female experience.

MAI-THU PERRET (*1976, Geneva, CH, lives in Geneva, CH) works in the media of installation, ceramics, painting, performance, sculpture, text and drawing. She creates feminist narratives and counter-narratives that place the role of art objects and their interpretation in a new light.

SHAHPOUR POUYAN (*1979, Isfahan, IR, lives in London, UK) works in the media of installation, ceramics, painting, sculpture and drawing. He explores history and current events, in particular the relationship between military, political and religious power.

PALOMA PROUDFOOT (*1992, London, UK, lives in London, UK) works in the media of ceramics, performance, sculpture, text, textiles and drawing. In her ceramic works, she thematises the boundaries and vulnerability of the human body.

CURATORS
Stefanie Gschwend & Felicity Lunn, Fachbereichsleiterin Gestaltung & Kunst, Hochschule der Künste Bern / Head of Art and Design Division, Bern Academy of the Arts

ORGANISATION
Regina Brülisauer, Stefanie Gschwend, Luca Tarelli

EXHIBITION INSTALLATION
Christian Hörler, Christian Meier, Tomek Rogowiec, Ueli Alder, Bea Dörig, Raoul Doré, Flavio Hodel, Carina Kirsch, Elias Menzi, Luca Tarelli

ART EDUCATION
Domenika Chandra

MUSEUM ATTENDANTS
Rita Dobler, Dominique Franke, Margrit Gmünder, Ian Groll, Priska Hüsler, Barbara Metzger, Heneisha Morris, Madleina Rutishauser, Luca Tarelli, Petra Zinth

EDITOR
Kunstmuseum / Kunsthalle Appenzell

TEXT
Stefanie Gschwend & Felicity Lunn 

PROOFREADING & TRANSLATION
Carmen Ebneter, Stefanie Gschwend, Katja Naumann

GRAPHIC DESIGN
Data-Orbit / Michel Egger, St.Gallen

ACKNOWLEDGEMENTS
Caroline Achaintre, Elif Akinci, Cristian Andersen, Aufdi Aufdermauer, Andreas Brülisauer, Marianne Burki, Sebastian Bürkner, Giovanni Carmine, Nicole Cherubini, Martin Chramosta, Collezione la Gaia, Carmen D’Apollonio, Woody De Othello, Edmund de Waal, Robert Diament, Myriam Gebert, Clare Goodwin, Lena Guévry, Tom Gut, Matthias Haldemann, Cora Hansen, Michael Janssen, Christa Kamm, Matt Kirkum, Jannik Konle, Kunsthaus Zug, Stephan Kunz, Leo Lencés, Fabienne Loosli, Felicity Lunn, Georgia Lurie, Isa Melsheimer, Lindsey Mendick, Erica Miranda, Mai-Thu Perret, Sebastiano Portunato, Shahpour Pouyan, Paloma Proudfoot, Emma Robertson, Tomek Rogowiec, Kacper Rozicki, Alexis Sarfati, Aleksandra Signer, Barbara Signer, Roman Signer, Annette Stadler, Team Kunstmuseum / Kunsthalle, Seraina von Laer, Karin Wegmüller, Peter Zimmermann, allen Stiftungen für Ihre substantielle Unterstützung und Ihr Vertrauen.