Irena Haiduk materializes the fictional spaces in Mikhail Bulgakov’s Master and Margarita, imbuing them with her own imagination and creating the alternative realities Bulgakov’s Stalinist government so feared.
He agreed in a plea deal to attend a 26-week in-person batterers intervention program in Basel, Switzerland and to abide by a full and final order of protection.
The Swiss-Uruguayan artist here challenges viewers with a single, colossal painting and a group of provocative conceptual pieces.
“How should we, as a community, address these kinds of troubling claims?” the group asks, referencing an ongoing court case against Swiss artist Tobias Madison.
Have you ever accidentally walked into an occupied bathroom? That incredulous shock of embarrassment is precisely what the Swiss Institute’s new exhibition conjures.
On August 10 at the Swiss Institute, Luke Willis Thompson will screen and discuss his film that questions the lack of people of color in Warhol’s famous series.
Christina Forrer’s colorful and gripping tapestries, currently on view at the Swiss Institute, focus on the awkward physicality of aggression.
The two exhibitions currently on view at the Swiss Institute examine the usually hidden infrastructure of architecture, and their consideration of space makes them particularly fitting: they are the gallery’s final shows before it moves from its current building on Wooster Street to a yet-to-be determined premise.
That film is open to all sorts of escapes, inspirations, and incursions has long been the stuff of movies.
Before she even appears in the 1944 film noir classic Laura, Laura Hunt is an obsession for the hardboiled police detective, who is mesmerized with the supposedly dead woman through her portrait.
For over two decades, the Swiss artist Hans Schärer focused on painting the female figure, transforming conventional depictions of women into highly unexpected forms.