Featured Events in Basel in September, 2024 (May Updated)

Throughout their lives, people remember events and people that are important to them. The exhibition begins with very personal memories - recorded in poetry and photo albums or baptismal certificates. A wall-filling type case filled with souvenirs also shows that memories are often linked to things. Over 400 exhibits from the museum collection bear witness to this. They contain personal information such as births, weddings or deaths. But they also remind us of social events, wars, catastrophes, the opening of borders or independence days. Memory aids The exhibition shows how these moments are remembered - or how they are kept secret or forgotten. There are a wide variety of practices and forms involved. The similarities are also revealed. For example, memory aids to prevent forgetting are widespread all over the world. The Incas in Peru tied knots in strings to record dates and stories. And in Switzerland, people recorded on notched sticks who was allowed to use water and when. For thousands of years, great epics and holy scriptures have guaranteed that experiences and history are not forgotten. The Bible, Torah, Koran, healing scrolls from Ethiopia and healing books of the Batak from Indonesia are impressive testimonies to this. These writings were written by scholars. In the 1980s, social organizations, artists and politicians recorded events on fabrics, paintings and posters: decolonization, the end of apartheid in South Africa or grievances, violence and oppression in Latin American dictatorships. In remembrance The exhibition ends with the remembrance of the dead. In Europe, hair images, stone monuments and grave crosses commemorate the deceased. In Mexico, the dead are happily celebrated on the "Día de los Muertos". Funny skeleton ensembles dance on an exhibition podium. In Peru, however, the Matsiguenga ethnic group creates wooden guardian figures to protect against the dead.

Throughout their lives, people remember events and people that are important to them. The exhibition begins with very personal memories - recorded in poetry and photo albums or baptismal certificates. A wall-filling type case filled with souvenirs also shows that memories are often linked to things. Over 400 exhibits from the museum collection bear witness to this. They contain personal information such as births, weddings or deaths. But they also remind us of social events, wars, catastrophes, the opening of borders or independence days. Memory aids The exhibition shows how these moments are remembered - or how they are kept secret or forgotten. There are a wide variety of practices and forms involved. The similarities are also revealed. For example, memory aids to prevent forgetting are widespread all over the world. The Incas in Peru tied knots in strings to record dates and stories. And in Switzerland, people recorded on notched sticks who was allowed to use water and when. For thousands of years, great epics and holy scriptures have guaranteed that experiences and history are not forgotten. The Bible, Torah, Koran, healing scrolls from Ethiopia and healing books of the Batak from Indonesia are impressive testimonies to this. These writings were written by scholars. In the 1980s, social organizations, artists and politicians recorded events on fabrics, paintings and posters: decolonization, the end of apartheid in South Africa or grievances, violence and oppression in Latin American dictatorships. In remembrance The exhibition ends with the remembrance of the dead. In Europe, hair images, stone monuments and grave crosses commemorate the deceased. In Mexico, the dead are happily celebrated on the "Día de los Muertos". Funny skeleton ensembles dance on an exhibition podium. In Peru, however, the Matsiguenga ethnic group creates wooden guardian figures to protect against the dead.

Marie Matusz (* 1994) stellt in ihrer künstlerischen Praxis immer wieder Polaritäten her, indem sie Verletzlichkeit und Widerstand in ein produktives Spannungsverhältnis bringt. Dieses künstlerische Anliegen wird die in Toulouse geborene Basler Künstlerin mit ihrem ersten monumentalen, ortspezifischen Projekt im öffentlichen Raum an der Rückwand der Kunsthalle Basel weiter ausarbeiten.

Marie Matusz (*1994) regularly establishes polarities in her artistic practice, placing vulnerability and resilience in productive tension. The Toulouse-born, Basel-based artist extends these concerns as she presents her first monumental, site-specific project for public space, spanning the back wall of Kunsthalle Basel.

Marie Matusz (*1994) regularly establishes polarities in her artistic practice, placing vulnerability and resilience in productive tension. The Toulouse-born, Basel-based artist extends these concerns as she presents her first monumental, site-specific project for public space, spanning the back wall of Kunsthalle Basel.

Marie Matusz (* 1994) stellt in ihrer künstlerischen Praxis immer wieder Polaritäten her, indem sie Verletzlichkeit und Widerstand in ein produktives Spannungsverhältnis bringt. Dieses künstlerische Anliegen wird die in Toulouse geborene Basler Künstlerin mit ihrem ersten monumentalen, ortspezifischen Projekt im öffentlichen Raum an der Rückwand der Kunsthalle Basel weiter ausarbeiten.

Marie Matusz (*1994) regularly establishes polarities in her artistic practice, placing vulnerability and resilience in productive tension. The Toulouse-born, Basel-based artist extends these concerns as she presents her first monumental, site-specific project for public space, spanning the back wall of Kunsthalle Basel.

準備好迎接巴斯遊戲2024盛會了嗎？這場備受期待的展覽即將在瑞士巴塞爾著名的Volkshaus Basel盛大舉行。於2024年9月14日，所有熱愛遊戲的朋友們都將匯聚於此，共襄這場視覺和技術的盛宴。坐擁歷史與現代美學結合的巴塞爾城市，Volkshaus Basel將為您帶來一場獨一無二的體驗。展會詳情尚待揭曉，但可以肯定的是，巴斯遊戲2024將會是一個難忘的事件，邀請您一同見證遊戲界的最新突破。不要錯過這個難得的機會，鎖定我們，獲得最新資訊。

The second exhibition in our Basel gallery is titled ‘Körperlich,’ meaning ‘bodily’ in English. A group show of women artists, the exhibition explores the body’s role in the construction and expression of identity through works by Louise Bourgeois, Maria Lassnig, Meret Oppenheim, Alina Szapocznikow, Irène Zurkinden, Lee Lozano, Hannah Villiger and Carol Rama.

準備好迎接巴斯遊戲2024盛會了嗎？這場備受期待的展覽即將在瑞士巴塞爾著名的Volkshaus Basel盛大舉行。於2024年9月14日，所有熱愛遊戲的朋友們都將匯聚於此，共襄這場視覺和技術的盛宴。坐擁歷史與現代美學結合的巴塞爾城市，Volkshaus Basel將為您帶來一場獨一無二的體驗。展會詳情尚待揭曉，但可以肯定的是，巴斯遊戲2024將會是一個難忘的事件，邀請您一同見證遊戲界的最新突破。不要錯過這個難得的機會，鎖定我們，獲得最新資訊。

The second exhibition in our Basel gallery is titled ‘Körperlich,’ meaning ‘bodily’ in English. A group show of women artists, the exhibition explores the body’s role in the construction and expression of identity through works by Louise Bourgeois, Maria Lassnig, Meret Oppenheim, Alina Szapocznikow, Irène Zurkinden, Lee Lozano, Hannah Villiger and Carol Rama.

The second exhibition in our Basel gallery is titled ‘Körperlich,’ meaning ‘bodily’ in English. A group show of women artists, the exhibition explores the body’s role in the construction and expression of identity through works by Louise Bourgeois, Maria Lassnig, Meret Oppenheim, Alina Szapocznikow, Irène Zurkinden, Lee Lozano, Hannah Villiger and Carol Rama.

The relationship between mother and child, or between caretaker and infant, has traditionally been represented as a symbiotic fusion within visual art; see the images of virgin and child by Raphael, for example. Inspired by the English psychoanalyst Melanie Klein, this exhibition takes a different view of those early childhood “object relations” that continue to shape how we relate to others throughout our lives. In addition to love and affection, Klein argues, the bond between the baby and its mother is also marked by aggressions, ambivalences, and strong anxious phantasies. The Mother Position brings together artworks that negotiate the complex nature of this paradigmatic object relation, whose long-term consequences resonate throughout. It is precisely because no artistic practice can do without an object relation that the equally libidinal and destructive object phantasies are worth examining. From this perspective, the fact that social interactions are currently often defined by negative feelings, splits, and one-sided repudiations is not only due to social media and the much-invoked “polarization” of contemporary society. Instead, The Mother Position demonstrates that our relations to the external world are also the expression of an inner psychic life that gets projected to the outside (while outside events get introjected). The exhibition thus focuses less on motherhood in the narrow sense than on a psychic position and its object relations that has its starting point in early childhood. It is a position that we keep inhabiting throughout our lives according to Klein. More so: it is a position – and this is The Mother Position’s central argument – that shapes the relationship between artists and their objects in particular.

The relationship between mother and child, or between caretaker and infant, has traditionally been represented as a symbiotic fusion within visual art; see the images of virgin and child by Raphael, for example. Inspired by the English psychoanalyst Melanie Klein, this exhibition takes a different view of those early childhood “object relations” that continue to shape how we relate to others throughout our lives. In addition to love and affection, Klein argues, the bond between the baby and its mother is also marked by aggressions, ambivalences, and strong anxious phantasies. The Mother Position brings together artworks that negotiate the complex nature of this paradigmatic object relation, whose long-term consequences resonate throughout. It is precisely because no artistic practice can do without an object relation that the equally libidinal and destructive object phantasies are worth examining. From this perspective, the fact that social interactions are currently often defined by negative feelings, splits, and one-sided repudiations is not only due to social media and the much-invoked “polarization” of contemporary society. Instead, The Mother Position demonstrates that our relations to the external world are also the expression of an inner psychic life that gets projected to the outside (while outside events get introjected). The exhibition thus focuses less on motherhood in the narrow sense than on a psychic position and its object relations that has its starting point in early childhood. It is a position that we keep inhabiting throughout our lives according to Klein. More so: it is a position – and this is The Mother Position’s central argument – that shapes the relationship between artists and their objects in particular.

The drawings reveal manifold facets. They are abstract or figurative, carefully considered or spontaneous. They probe questions of individual and collective identity amid differences of culture and religion. Or they boast broad strokes and rich colors, ignoring the line that divides the medium from painting. The exhibition Drawing Today offers insight into the Kupferstichkabinett’s collection-building strategy, which is exemplarily illustrated by the selection of works: one central goal is to compile larger bodies of work that let beholders gain a profound understanding of an oeuvre. This strategy contrasts with the so-called encyclopedic collection, which aims to gather comparatively few works by as many artists as possible. The corpuses patiently assembled at the Kupferstichkabinett make it possible for the exhibition Drawing Today to dedicate entire rooms to individual artists.

Zum 60. Geburtstag Lorenz Spring: Ein Blick zurück und nach vorne, organised by Galerie Carzaniga Basel, is going on during the week of September 22, featuring Lorenz Spring.Over the last 12 months, the gallery organised mostly solo exhibitions. Among the solo exhibitions, the artists featured include Mark Tobey, Samuel Buri and Lorenz Spring.

Zum 60. Geburtstag Lorenz Spring: Ein Blick zurück und nach vorne, organised by Galerie Carzaniga Basel, is going on during the week of September 22, featuring Lorenz Spring.Over the last 12 months, the gallery organised mostly solo exhibitions. Among the solo exhibitions, the artists featured include Mark Tobey, Samuel Buri and Lorenz Spring.

The drawings reveal manifold facets. They are abstract or figurative, carefully considered or spontaneous. They probe questions of individual and collective identity amid differences of culture and religion. Or they boast broad strokes and rich colors, ignoring the line that divides the medium from painting. The exhibition Drawing Today offers insight into the Kupferstichkabinett’s collection-building strategy, which is exemplarily illustrated by the selection of works: one central goal is to compile larger bodies of work that let beholders gain a profound understanding of an oeuvre. This strategy contrasts with the so-called encyclopedic collection, which aims to gather comparatively few works by as many artists as possible. The corpuses patiently assembled at the Kupferstichkabinett make it possible for the exhibition Drawing Today to dedicate entire rooms to individual artists.

The drawings reveal manifold facets. They are abstract or figurative, carefully considered or spontaneous. They probe questions of individual and collective identity amid differences of culture and religion. Or they boast broad strokes and rich colors, ignoring the line that divides the medium from painting. The exhibition Drawing Today offers insight into the Kupferstichkabinett’s collection-building strategy, which is exemplarily illustrated by the selection of works: one central goal is to compile larger bodies of work that let beholders gain a profound understanding of an oeuvre. This strategy contrasts with the so-called encyclopedic collection, which aims to gather comparatively few works by as many artists as possible. The corpuses patiently assembled at the Kupferstichkabinett make it possible for the exhibition Drawing Today to dedicate entire rooms to individual artists.

隨著科技的進步，人們對健康與醫療領域的智能化需求不斷提升。巴塞爾將於2024年9月11日迎來一場令業界矚目的盛會——智能健康AI 2024。此次展會將於宏偉的巴塞爾會議中心盛大舉行，地點位於瑞士心臟地帶的巴塞爾城。作為業界專業人士，您絕不可以錯過這個探索最新智能健康科技動態的絕佳機會。參與者將有機會一窺AI如何顛覆傳統醫療模式，並與領域內的專家們進行深入交流。立即登記，開始您的前瞻性醫療科技之旅。智能健康AI 2024，引領未來健康革命。

隨著科技的進步，人們對健康與醫療領域的智能化需求不斷提升。巴塞爾將於2024年9月11日迎來一場令業界矚目的盛會——智能健康AI 2024。此次展會將於宏偉的巴塞爾會議中心盛大舉行，地點位於瑞士心臟地帶的巴塞爾城。作為業界專業人士，您絕不可以錯過這個探索最新智能健康科技動態的絕佳機會。參與者將有機會一窺AI如何顛覆傳統醫療模式，並與領域內的專家們進行深入交流。立即登記，開始您的前瞻性醫療科技之旅。智能健康AI 2024，引領未來健康革命。

ILMAC Expo showcases product from Scientific Instruments industry ILMAC Expo showcases product from Scientific Instruments industry. It is the Industry Exhibition for Research and Development, Environmental and Process Technology in Pharmaceuticals, Chemicals and Biotechnology. This is where you will find all the industrial applications in process technology represented in one place from research and development through piloting and engineering up to production and disposal. Information Source: MCH Group AG | expotobi

The Portuguese-British artist Paula Rego (1935–2022) is one of the most important and exciting figurative painters of recent decades. The Kunstmuseum Basel is her first exhibition in Switzerland and presents key works from her oeuvre, which spans more than half a century.

The Portuguese-British artist Paula Rego (1935–2022) is one of the most important and exciting figurative painters of recent decades. The Kunstmuseum Basel is her first exhibition in Switzerland and presents key works from her oeuvre, which spans more than half a century.

The Portuguese-British artist Paula Rego (1935–2022) is one of the most important and exciting figurative painters of recent decades. The Kunstmuseum Basel is her first exhibition in Switzerland and presents key works from her oeuvre, which spans more than half a century.