Body Archive Project

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	<title>Body Archive Project</title>
	<link>https://bodyarchive.net</link>
	<description>Body Archive Project</description>
	<pubDate>Tue, 27 Oct 2026 13:42:34 +0000</pubDate>
	<generator>https://bodyarchive.net</generator>
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	<item>
		<title>Contact</title>
				
		<link>https://bodyarchive.net/Contact</link>

		<pubDate>Tue, 02 Jun 2026 13:45:34 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

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info@bodyarchive.net
+41 79 746 53 80&#38;nbsp;
@bodyarchivezurich

Body Archive is an independent platform for contemporary art, founded in Zurich. It grew out of a desire to create a place for artists, friends and new encounters, and from the belief that an exhibition can be the beginning of something rather than the end.

Its programme takes shape through exhibitions, gatherings, performances, dinners, conversations and collaborations. Different disciplines and perspectives often meet within the same project, with each one developing in response to the people involved and the place in which it happens. Over the years, this has taken Body Archive from Zurich to Seoul, the Swiss Alps and other contexts, while remaining rooted in the relationships that make these projects possible.

Body Archive is interested in how a cultural platform can grow through these relationships rather than through a fixed format. Artists return, collaborations evolve and projects create connections that often continue elsewhere and in different forms. The aim is to build a space that stays open to change while developing its own voice over time, a place where people can meet, exchange ideas, take risks and imagine new ways of working together.


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	<item>
		<title>Jiajia Zhang</title>
				
		<link>https://bodyarchive.net/Jiajia-Zhang</link>

		<pubDate>Tue, 27 Oct 2026 13:42:34 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Jiajia-Zhang</guid>

		<description>


On the occasion of the signing of the optimized Switzerland–China Free Trade Agreement, the Embassy of Switzerland in China is hosting a celebratory gathering. The upgraded agreement includes important developments in the areas of trade and investments, but also environment and sustainability, labour rights, and rules of origin. 

The artwork contained in the machine and available for symbolic purchase is titled Desk Ornament (Work Won’t Love You Back), Beijing Assembly, 2026. It is composed of artificial flowers and letter beads spelling the title of the work inside a transparent acrylic glass container. 

At first, the flowers suggest an immediate connection to nature. Yet they are mass produced artificial flowers that neither grow nor decay. They remain reproducible commodities. In this way, the work brings a familiar image of nature into relation with questions of ecology, material consumption, production and artificial permanence. 

The phrase “Work Won’t Love You Back”, borrowed from the title of Sarah Jaffe’s book of the same name, interrupts the decorative promise of the flowers. It points to the emotional investment that work can demand and to the imbalance of a relationship into which people bring time, attention, identity, as well as physical and mental energy. 

In this context, Desk Ornament resonates with several of the questions considered by the negotiating partners and offers a point of reflection on exchange, sustainability, equity, and the conditions through which objects, labour, and value circulate between Switzerland and the People’s Republic of China.&#38;nbsp; 

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		<title>Xenia Landolf</title>
				
		<link>https://bodyarchive.net/Xenia-Landolf</link>

		<pubDate>Fri, 28 Aug 2026 14:11:11 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Xenia-Landolf</guid>

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Xenia Landolf’s works develop from surfaces, coverings and traces. In her presentation at Body Archive, she brings her ongoing engagement with tree bark into closer relation with clothing and textile forms. Both surround a body and carry time within them: bark through growth, injury and regeneration; clothing through touch, movement and use.

Landolf takes impressions of tree bark and translates them into wax, fixing a particular state while the tree itself continues to grow and change. Textiles, in contrast, become part of the works directly, referring to a human body that remains both present and absent. Moving between discarded layer, relic and new form, the works trace processes of decay and regeneration, preservation and transformation.

What remains is the trace of a state that has already passed.

Xenia Landolf (b. 2000, Zurich) lives and works in Zurich. She completed her Bachelor of Fine Arts at Zurich University of the Arts in 2024. In 2025, her work was shown at Helmhaus Zürich as part of the City of Zurich Art Grants, where she received a work grant from the City of Zurich.


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Enquiries: info@bodyarchive.net
Visit by appointment
Photografphy credits: Felix Jungo


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		<title>BSC</title>
				
		<link>https://bodyarchive.net/BSC</link>

		<pubDate>Tue, 02 Jun 2026 13:30:27 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

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Positioned within the transitional spaces of a vacant office building, OFFICE SUPPLY introduces a modified vending machine that disrupts the logic of the workplace break room. Shifting the automated transaction into a critical reflection on value, labor, and the art market, the machine dispenses two distinct categories of identical boxes.The machine functions as a decentralized exhibition unit, dispensing works, objects, and site-specific interventions. These boxes contain limited editions, unique works and contributions curated for this corporate environment, bringing critical and physical artistic practices directly into the automated circuit.Alongside the artist works, the machine features our own conceptual response to workplace burnout: Survival Kit : Me, Myself, and My Deficit. A curated multi-pack engineered for systemic maintenance within the contemporary workspace.This compilation of minor physical interventions addresses the symptoms of corporate acceleration, structural fatigue, and low workplace morale, offering immediate chemical and emotional stabilization to keep the human resource functional, tools for navigating the daily institutional void. Prices within this unit are entirely detached from product value. Instead, they reflect a strategy scaled to your personal self-worth and professional tax bracket. Choosing a higher price functions as a financial flex: a direct subsidy to Body Archive that validates your status as an indispensable asset to our independent infrastructure. Pay more, because you are worth it.

Malik Abdi &#38;amp; Dimitri Erhard, Yumna Al-Arashi, Marcello Concari, Valentina Demicheli Jitsattayakul, Sebastian Eduardo, Mai-Thu Perret, Orlando Press, Iouri Podladtchikov, Azur Sabic, Cassidy Toner, and Jiajia Zhang.


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Supported by Selecta


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		<title>Noah Kohlbrenner</title>
				
		<link>https://bodyarchive.net/Noah-Kohlbrenner</link>

		<pubDate>Tue, 02 Jun 2026 13:51:09 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Noah-Kohlbrenner</guid>

		<description>


The large-scale paintings by Noah Kohlbrenner revolve around the Aletsch Glacier and the Märjelen region, a landscape closely tied to his family history. At first glance, these works appear as abstract pictorial spaces that resist immediate interpretation. Only over time do their surfaces begin to reveal fragments of this landscape. This delayed recognition is essential: the paintings challenge the idea of landscape as a distant view and instead point to an understanding of it as something alive.


One point of departure are the Valais legends about spirits and “poor souls,” stories that helped people make sense of floods, natural disasters, and existential threats. The glacier was not seen as an inert mass, but as a force that could react. It was feared and personified. Within this worldview, life, death, and transformation are deeply intertwined.


In the work Walking into silence with pockets full of dust, this exploration becomes particularly condensed. Archival images of gates form the starting point for a pictorial space that moves between reality and transcendence. The gate does not function merely as an architectural detail, but as a threshold: between visibility and invisibility, between the present and memory. The figure of the ghost does not appear as a narrative illustration, but rather as a form of persistence, as something that remains stored within the landscape, even as it physically withdraws.


Kohlbrenner uses glazing techniques reminiscent of Renaissance painting. Through multiple translucent layers, he creates pictorial spaces of great depth in which different moments of time overlap. Historically, this technique referred to painting as a “window onto the world.” In his works, however, this „window“ becomes unstable. It no longer opens onto a single, clear reality, but onto in-between spaces where past, myth, and present appear simultaneously. The layers thus function not only as a painterly method, but also as a structure of memory itself.


Within the intimate setting of this apartment presentation, the focus begins to shift, away from the glacier and toward the margins. In weeds grow apace 1 &#38;amp; 2, the thistle appears. Not a decorative floral element, but a plant considered a weed, growing at the edges of monocultures, where systems of control begin to break down. The two additional small-scale works Cardsharp &#38;amp; swindler extend this zone further. Figures appear in the scene alongside the thistles without clearly belonging to it. Protagonists or antagonists. Observers or intruders. The portrait carries a subtle echo of “The Cardsharps” by Caravaggio, a play of gazes, deception, and staging.


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&#60;img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/6082e66f17951f99719575dd538e1f47741027c6949a7ef8f96ab593b628cf5c/WhatsApp-Image-2026-02-12-at-11.18.41.jpeg" data-mid="249898030" border="0"  src="https://freight.cargo.site/w/1000/i/6082e66f17951f99719575dd538e1f47741027c6949a7ef8f96ab593b628cf5c/WhatsApp-Image-2026-02-12-at-11.18.41.jpeg" /&#62;
&#60;img width="4000" height="4795" width_o="4000" height_o="4795" data-src="https://freight.cargo.site/t/original/i/3a6769f4c4a7abf804831fd9262eb2d72eb624f794ba19b8d6077d54a8e61d8c/NoahKohlbrenner_03_S.jpg" data-mid="249232394" border="0"  src="https://freight.cargo.site/w/1000/i/3a6769f4c4a7abf804831fd9262eb2d72eb624f794ba19b8d6077d54a8e61d8c/NoahKohlbrenner_03_S.jpg" /&#62;
&#60;img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/2bccb52d1ca2d0f79f1a2632eadd2a7e87454ce22c1f09fb71c26b4db39647dc/WhatsApp-Image-2026-02-12-at-11.18.42-2.jpeg" data-mid="249898031" border="0"  src="https://freight.cargo.site/w/1000/i/2bccb52d1ca2d0f79f1a2632eadd2a7e87454ce22c1f09fb71c26b4db39647dc/WhatsApp-Image-2026-02-12-at-11.18.42-2.jpeg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Echo Chamber</title>
				
		<link>https://bodyarchive.net/Echo-Chamber</link>

		<pubDate>Tue, 02 Jun 2026 13:52:12 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Echo-Chamber</guid>

		<description>

The exhibition develops as a dialogue between space, sound and material. Frequencies and vibrations pass through the rooms as audible and tangible elements, while water, sound and sculptural structures create zones of transition, between solid and liquid, visible and invisible, collective and individual. Water appears as a medium of change and memory, shifting between states, storing information and leaving traces. It interacts with urban and organic matter, revealing processes of erosion, dissolution and reformation. Sound behaves in a comparable way, moving through space, dissolving, resonating and generating an invisible yet perceptible network. Architecture introduces another layer: openings, grids and thresholds mark passages and interruptions, framing perspectives and exposing how space regulates access and perception, while at the same time showing how these structures can be displaced and reimagined.&#38;nbsp;Together, these practices intersect as shifting forces—water shaping and eroding, sound penetrating and transforming, architecture framing and redirecting. The exhibition emerges as a field of relations in which memory, transmission and transformation are negotiated.

Sebastian Eduardo, Haryung Lee, Lou Masduraud


&#60;img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/a6a2d850325e9b22d2ed863548a7e7633704ac44313b80df3b276a93288a9b39/37.jpg" data-mid="249238884" border="0"  src="https://freight.cargo.site/w/1000/i/a6a2d850325e9b22d2ed863548a7e7633704ac44313b80df3b276a93288a9b39/37.jpg" /&#62;
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&#60;img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/943b0ce08be13ed26f156ae5c45b50f7fafa829834c2f870ad213601a56d7a62/45.jpg" data-mid="249238889" border="0"  src="https://freight.cargo.site/w/1000/i/943b0ce08be13ed26f156ae5c45b50f7fafa829834c2f870ad213601a56d7a62/45.jpg" /&#62;

Shower61 Duteopbawi-roYongsan-gu04336 SeoulSouth Korea 


</description>
		
	</item>
		
		
	<item>
		<title>Amos</title>
				
		<link>https://bodyarchive.net/Amos</link>

		<pubDate>Wed, 12 Aug 2026 09:22:53 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Amos</guid>

		<description>


The large-scale paintings by Noah Kohlbrenner revolve around the Aletsch Glacier and the Märjelen region, a landscape closely tied to his family history. At first glance, these works appear as abstract pictorial spaces that resist immediate interpretation. Only over time do their surfaces begin to reveal fragments of this landscape. This delayed recognition is essential: the paintings challenge the idea of landscape as a distant view and instead point to an understanding of it as something alive.


One point of departure are the Valais legends about spirits and “poor souls,” stories that helped people make sense of floods, natural disasters, and existential threats. The glacier was not seen as an inert mass, but as a force that could react. It was feared and personified. Within this worldview, life, death, and transformation are deeply intertwined.


In the work Walking into silence with pockets full of dust, this exploration becomes particularly condensed. Archival images of gates form the starting point for a pictorial space that moves between reality and transcendence. The gate does not function merely as an architectural detail, but as a threshold: between visibility and invisibility, between the pre


&#60;img width="1402" height="1868" width_o="1402" height_o="1868" data-src="https://freight.cargo.site/t/original/i/a687215d935a9d9a3e746e3b41be839b9cb088041b118e048a18b1f74b6f300c/Bildschirmfoto-2026-08-12-um-11.12.11.png" data-mid="251179727" border="0"  src="https://freight.cargo.site/w/1000/i/a687215d935a9d9a3e746e3b41be839b9cb088041b118e048a18b1f74b6f300c/Bildschirmfoto-2026-08-12-um-11.12.11.png" /&#62;
&#60;img width="1536" height="1024" width_o="1536" height_o="1024" data-src="https://freight.cargo.site/t/original/i/04734f9fd80d4501c01ef3bf1d9d2388cc75c9265633b39a5af3f657de009da7/02_sound_installation_wide.png" data-mid="251179722" border="0"  src="https://freight.cargo.site/w/1000/i/04734f9fd80d4501c01ef3bf1d9d2388cc75c9265633b39a5af3f657de009da7/02_sound_installation_wide.png" /&#62;
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&#60;img width="1078" height="1460" width_o="1078" height_o="1460" data-src="https://freight.cargo.site/t/original/i/c2589a5677b4e4209cf145505eabe6e236a4e6022474a223ee6327d3bea4a4b5/05_dark_disc_detail.png" data-mid="251179725" border="0"  src="https://freight.cargo.site/w/1000/i/c2589a5677b4e4209cf145505eabe6e236a4e6022474a223ee6327d3bea4a4b5/05_dark_disc_detail.png" /&#62;
&#60;img width="1066" height="1476" width_o="1066" height_o="1476" data-src="https://freight.cargo.site/t/original/i/8c1e05ed2c70558d6fe2d7f7737db9e455db48bcb5584abffafdd49417882970/04_light_disc_detail.png" data-mid="251179724" border="0"  src="https://freight.cargo.site/w/1000/i/8c1e05ed2c70558d6fe2d7f7737db9e455db48bcb5584abffafdd49417882970/04_light_disc_detail.png" /&#62;
&#60;img width="1086" height="1448" width_o="1086" height_o="1448" data-src="https://freight.cargo.site/t/original/i/bb50756977652f739dbcdcc1137bd9b3cd395c2f4a30ba86b185f5e4288ee428/03_sound_installation_vertical.png" data-mid="251179723" border="0"  src="https://freight.cargo.site/w/1000/i/bb50756977652f739dbcdcc1137bd9b3cd395c2f4a30ba86b185f5e4288ee428/03_sound_installation_vertical.png" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Beyond the Looking Glass</title>
				
		<link>https://bodyarchive.net/Beyond-the-Looking-Glass</link>

		<pubDate>Tue, 09 Jun 2026 09:26:27 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Beyond-the-Looking-Glass</guid>

		<description>

In the exhibition "Beyond the Looking Glass" - inspired by Lewis Carroll's "Through the&#38;nbsp;Looking-Glass" - Works will be exhibited that deal with following thematic areas:&#38;nbsp;Transformation and Metamorphosis, Technological Interventions, Mirrors and Reflections.&#38;nbsp;

Works by artists will be displayed, functioning within the exhibition as reflections: both&#38;nbsp;internally, between the artists and viewers. The works exist within a liminal context of the&#38;nbsp;exhibition, encompassing both artificially intelligent based images - technology within our&#38;nbsp;visualized and socialized worlds - as well as physical objects that equally address&#38;nbsp;contemporary themes of self-mediated personalities and compositions that evoke situations&#38;nbsp;reminiscent of classical portraits from art history.&#38;nbsp;

Ideas of authenticity and authorship are challenged and rejected upon viewing the works.&#38;nbsp;Bodies are considered akin to history, landscapes are seen as new realities, and at times, are&#38;nbsp;led into the realm of the grotesque. The works reflect the contemporary world, where digital&#38;nbsp;and physical realities merge and the boundaries between them blur.&#38;nbsp;

Transformation and Metamorphosis in the exhibition focuse on how artworks can prompt viewers to contemplate their&#38;nbsp;own identity and self-perception. Through the exploration of various perspective and forms&#38;nbsp;of expression, visitors are encouraged to engage with questions of personal identity, selfawareness,&#38;nbsp;and inner journey.&#38;nbsp;The exhibition investigates how modern technologies such as artificial intelligence can be used&#38;nbsp;to create alternative realities and landscapes.


Mirrors and Reflections explores the symbolic significance of mirrors and reflections in art.&#38;nbsp;Artworks may employ the concept of reflection, both literally and metaphorically, to raise&#38;nbsp;questions about identity, self-awareness, and dual reality. Through the observation of these&#38;nbsp;works, visitors are prompted to contemplate the relationship between the self and the world&#38;nbsp;around them. Societal, political, and cultural realities that shape our world are also&#38;nbsp;addressed.


Alfredo Aceto, Victoria Cantons, Sylvie Fleury, Dorota Gawęda and Eglė Kulbokaitė, Thomas&#38;nbsp;Julier, Klaudia Schifferle, Xu Yang, Sinae YooDorota Gawęda and Eglė Kulbokaitė


&#60;img width="2400" height="1800" width_o="2400" height_o="1800" data-src="https://freight.cargo.site/t/original/i/36fe4ee37863bcbff1a9ac9957b2d75fa30f04967326d67da264e1e367cb439c/Beyond-the-looking-glass.jpg" data-mid="249271655" border="0"  src="https://freight.cargo.site/w/1000/i/36fe4ee37863bcbff1a9ac9957b2d75fa30f04967326d67da264e1e367cb439c/Beyond-the-looking-glass.jpg" /&#62;

galerie lange + pult 
Rämistrasse 27
8001 Zurich


</description>
		
	</item>
		
		
	<item>
		<title>Blue Moon Rising</title>
				
		<link>https://bodyarchive.net/Blue-Moon-Rising</link>

		<pubDate>Fri, 28 Aug 2026 14:47:40 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Blue-Moon-Rising</guid>

		<description>

Blue Moon Rising was conceived as a collaborative gathering by PW-Magazine, Body Archive, Spectres and Cabaret Voltaire. Bringing together artists, writers and different communities around the four platforms, the evening unfolded across performances, sound, screenings, interventions and conversations.

Rather than following a fixed exhibition format, the programme developed throughout the night, allowing individual contributions to overlap and move between the spaces of Cabaret Voltaire. Blue Moon Rising became a temporary meeting point between artistic practices, publishing and performance, centred around exchange and forms of being together.

With contributions by Axel Kolb, Azur Sabic, DIVAS / Rafał Pierzyński &#38;amp; Aga Pędziwiatr, Deborah Macauley, Jamira Estrada, Jiajia Zhang, Margaretha Jüngling with Luc Häfliger, Modulaw, Nadia Hauri, Sam Fuentes, Rashiyah Elanga, Tereza Glazova, Valentina Demicheli Jitsattayakul and Young Boy Dancing Group.


&#60;img width="2413" height="3620" width_o="2413" height_o="3620" data-src="https://freight.cargo.site/t/original/i/ec6c88a03dbe8efe36e3c9aa148a3c7c432a8fd1928ff10194252a55986709f4/_DSC8810.jpg" data-mid="251661889" border="0"  src="https://freight.cargo.site/w/1000/i/ec6c88a03dbe8efe36e3c9aa148a3c7c432a8fd1928ff10194252a55986709f4/_DSC8810.jpg" /&#62;
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</description>
		
	</item>
		
		
	<item>
		<title>Authenticity as a Service</title>
				
		<link>https://bodyarchive.net/Authenticity-as-a-Service</link>

		<pubDate>Fri, 28 Aug 2026 14:58:40 +0000</pubDate>

		<dc:creator>Body Archive Project</dc:creator>

		<guid isPermaLink="true">https://bodyarchive.net/Authenticity-as-a-Service</guid>

		<description>

Authenticity as a Service brought together artistic perspectives around the ways authenticity is produced, performed and negotiated. Rather than approaching authenticity as something fixed or inherent, the project considered how ideas of identity, belonging and representation are shaped through personal experience, cultural narratives and the structures surrounding them.

Through moving image, conversation and collective exchange, the programme created a space in which different positions and experiences could meet. Community building and public engagement were central to the project, extending the artistic programme beyond presentation towards dialogue, participation and new connections.

Authenticity as a Service asked who is able to define what is considered authentic, how these definitions shift across contexts, and what becomes possible when different perspectives are brought into relation.


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