Latest Events in Zurich(May Updated)

Suzanne Duchamp (1889 Blainville-Crevon – 1963 Neuilly-sur-Seine) left behind a dazzling body of work that has found its way into some of the world’s most famous collections but is still known only to specialists. The sister of Marcel Duchamp, Raymond Duchamp-Villon and Jacques Villon, she was in the vanguard of her times and influenced art history as an exceptional Dada artist. Duchamp’s visual idiom is subtle, delicate, cryptic, humorous and aesthetically appealing. The last large exhibition devoted to her work was in 1983 at the Centre Pompidou in Paris and was also presented at Kunsthalle Bern in a show entitled ‘Tabu Dada’. In collaboration with guest curator Talia Kwartler, the Kunsthaus stages the first retrospective in honour of a multifaceted artist who has for so long remained in her brother’s shadow. Zurich, the birthplace of the Dada Movement, seems the ideal place to highlight Duchamp’s adventurous spirit. Many of the approximately 60 works on display are being shown in public for the first time.

Suzanne Duchamp (1889 Blainville-Crevon – 1963 Neuilly-sur-Seine) left behind a dazzling body of work that has found its way into some of the world’s most famous collections but is still known only to specialists. The sister of Marcel Duchamp, Raymond Duchamp-Villon and Jacques Villon, she was in the vanguard of her times and influenced art history as an exceptional Dada artist. Duchamp’s visual idiom is subtle, delicate, cryptic, humorous and aesthetically appealing. The last large exhibition devoted to her work was in 1983 at the Centre Pompidou in Paris and was also presented at Kunsthalle Bern in a show entitled ‘Tabu Dada’. In collaboration with guest curator Talia Kwartler, the Kunsthaus stages the first retrospective in honour of a multifaceted artist who has for so long remained in her brother’s shadow. Zurich, the birthplace of the Dada Movement, seems the ideal place to highlight Duchamp’s adventurous spirit. Many of the approximately 60 works on display are being shown in public for the first time.

Megadeth Zurich is set to electrify the Hallenstadion in Zurich on October 4, 2025, at 20:00. This highly anticipated event promises an unforgettable evening of heavy metal, featuring the legendary band Megadeth. Known for their powerful performances and iconic hits, Megadeth will deliver a show that fans will not want to miss. The Hallenstadion, located in the heart of Zurich, Switzerland, provides the perfect venue for this monumental concert, offering excellent acoustics and a vibrant atmosphere. Tickets are priced at 183 USD, reflecting the premium experience attendees can expect. With a reputation for selling out quickly, securing tickets early is advisable. Megadeth Zurich is poised to be a standout event in Zurich's 2025 concert calendar, drawing metal enthusiasts from near and far to witness a night of unparalleled musical prowess.

Wilhelm Lehmbruck (1881 Duisburg – 1919 Berlin), one of the most important sculptors of his generation, moved to Zurich from Germany in 1916. During the First World War, the city became a meeting place for international artists. It was in this inspiring environment that Lehmbruck reached another peak of his powers: his last works in particular reveal him to be a visionary, charting out a new course with his ‘mental’ sculptures. Joining him in a visual dialogue is the contemporary Swiss artist Yves Netzhammer (b. 1970 Schaffhausen), whose drawings, spatial installations and computer-generated video films are a captivating blend of corporeal appearance and pictorial narrative. Netzhammer will conceive the overall spatial design of the exhibition and develop new works in resonance with Lehmbruck. The exhibition is a cooperation with the Kunstmuseum Moritzburg in Halle (Saale), in collaboration with the Lehmbruck Museum, Duisburg.

Wilhelm Lehmbruck (1881 Duisburg – 1919 Berlin), one of the most important sculptors of his generation, moved to Zurich from Germany in 1916. During the First World War, the city became a meeting place for international artists. It was in this inspiring environment that Lehmbruck reached another peak of his powers: his last works in particular reveal him to be a visionary, charting out a new course with his ‘mental’ sculptures. Joining him in a visual dialogue is the contemporary Swiss artist Yves Netzhammer (b. 1970 Schaffhausen), whose drawings, spatial installations and computer-generated video films are a captivating blend of corporeal appearance and pictorial narrative. Netzhammer will conceive the overall spatial design of the exhibition and develop new works in resonance with Lehmbruck. The exhibition is a cooperation with the Kunstmuseum Moritzburg in Halle (Saale), in collaboration with the Lehmbruck Museum, Duisburg.

The Collection of Prints and Drawings at the Kunsthaus is a true treasure trove, hardly known to its visitors. In 2025 we highlight a selection of remarkable works from the extensive holdings of prints. Printing is far more than simply a reproductive medium. The use of printer’s ink and the play of line and surface invariably also bring unique qualities to the fore. Our selection comprises artists whose works literally ‘made an impression’ on generations that followed, by setting standards in the technique of printmaking: figures from Dürer to Munch and Kollwitz, and from Rembrandt and Goya to Roth. While this ‘tour d’horizon’ also covers all formats, from XS to XL, we deliberately avoid a hierarchical categorization of works according to size. The fact is that quite often, a print’s appeal only becomes evident when you zoom in on the minute details.

The Collection of Prints and Drawings at the Kunsthaus is a true treasure trove, hardly known to its visitors. In 2025 we highlight a selection of remarkable works from the extensive holdings of prints. Printing is far more than simply a reproductive medium. The use of printer’s ink and the play of line and surface invariably also bring unique qualities to the fore. Our selection comprises artists whose works literally ‘made an impression’ on generations that followed, by setting standards in the technique of printmaking: figures from Dürer to Munch and Kollwitz, and from Rembrandt and Goya to Roth. While this ‘tour d’horizon’ also covers all formats, from XS to XL, we deliberately avoid a hierarchical categorization of works according to size. The fact is that quite often, a print’s appeal only becomes evident when you zoom in on the minute details.

The Collection of Prints and Drawings at the Kunsthaus is a true treasure trove, hardly known to its visitors. In 2025 we highlight a selection of remarkable works from the extensive holdings of prints. Printing is far more than simply a reproductive medium. The use of printer’s ink and the play of line and surface invariably also bring unique qualities to the fore. Our selection comprises artists whose works literally ‘made an impression’ on generations that followed, by setting standards in the technique of printmaking: figures from Dürer to Munch and Kollwitz, and from Rembrandt and Goya to Roth. While this ‘tour d’horizon’ also covers all formats, from XS to XL, we deliberately avoid a hierarchical categorization of works according to size. The fact is that quite often, a print’s appeal only becomes evident when you zoom in on the minute details.

Brazilian artist Lygia Clark (1920 Belo Horizonte – 1988 Rio de Janeiro) radically redefined the concept of art and is one of the most important art practitioners in South America. One of the leading figures in the Neoconcretismo movement established in Rio de Janeiro in 1959, she encouraged a bodily experience of art that involves people in the work and makes them part of it. With installations that visitors could activate, walk through and touch, she challenged conventional notions of sculpture and expanded art into a holistic and sensual experience. Despite the pre-eminence of Abstract Expressionism and later Pop Art, Clark was remarkably successful in asserting her unconventional ideas during Brazil’s military dictatorship from 1964 to 1985 – a time when artistic freedom was under threat. In this exhibition, the first retrospective in a German-speaking country, we celebrate her unconventional and still highly exciting historical work. She herself said: ‘For me, making art is about developing as a person, which is the most important thing of all. Art should not seek to emulate a name or any kind of concept.’ Today, in an age of digital transformation and globalization mingled with self-alienation, her oeuvre speaks more than ever to all the senses. A retrospective in cooperation with the Neue Nationalgalerie in Berlin in collaboration with the Associação Cultural Lygia Clark in Rio de Janeiro. The exhibition is accompanied by a separate presentation in collaboration with Museum Haus Konstruktiv, which focuses on links between Switzerland and Brazil and, in particular, the influence of the Zurich Concrete artist Max Bill on Lygia Clark and her generation, and their emancipation from him.