Agenda

Although countries such as Czechia, Poland, Hungary and Russia are geographically close to us, they can still seem far away, even today.

This exhibition casts its gaze towards this part of Europe and exhibits large work groups of several generations of artists from Central and Eastern Europe.

It does not just draw a line from “West” to “East”, but also links several generations and perspectives.

The Museum organises the exhibition “Abstractions plurielles” in cooperation with the Gandur Foundation for Art

The word “plurielles” means that there was no single abstract art, but rather various movements, initiatives and ideas.

The years following the Second World War saw a great artistic flowering. Paris took its place again and New York soon followed.

The exhibition offers an overview through the years 1950 to 1980 on both sides of the Atlantic Ocean.

It emphasises the many forms that abstraction took in this period and shows the main trends: lyrical and gestural abstraction, abstract expressionism, geometric abstraction, minimalism, kinetic art (movement is central) and monumental mobile art.

The exhibition concludes with Supports/Surfaces, the movement that questions traditional pictorial means. It marks the end of a period of experimentation and the beginning of a new quest, which is still ongoing.

The Swiss Leu family is well-known among tattoo fans worldwide. In the late 1960s and 1970s, Felix and Loretta Leu used their tattooing skills to fund extensive travels with their four children Ama, Aia, Filip and Ajja.

These years on the road were nourished by artistic curiosity, forming the basis for a distinct family cosmos. Featuring works by all members of the family, the exhibition (Leu Art Family. Caresser la peau du ciel) offers a picture of this special universe.

The exhibition “big City Life” presents works that are either set in the city or are about it. The exhibition brings together renowned artists from Europe and the USA.

The artists’ perceptions and representations of the city are just as idiosyncratic and diverse as the perspectives from which they view it. The techniques used to realise these works are as varied as the themes laid out.

On 9 March 1820, the Geneva Academic Museum was inaugurated. The museum is the predecessor of the current natural history museum (Musée d’histoire naturelle) in Malagnou.

The Museum of the History of Science (Musée d’histoire des sciences) was opened in 1964. The museum is housed in the Villa Batholdi in the Parc de la Perle du Lac.

The two museums merged a few years ago under the name Muséum Genève, while remaining in the same buildings.

The natural history museum has selected 200 objects from its immense collections to celebrate the bicentenary.

A doctor and collector, Pierre Decker (1892–1967) dedicates his life to the practice of medicine and to his passion for two of the greatest printmakers in Western art: Albrecht Dürer (1472-1553) and Rembrandt Harmensz van Rijn (1606-1669).

To mark the publication of a major work devoted to collector of art, the cantonal prints collection (Cabinet cantonal des estampes) is offering an opportunity to rediscover this prestigious ensemble in the Jenisch museum.

The exhibition shows around seventy works, including a work by Lucas Cranach the Older (1472-1553).

Switzerland has no tradition of royalty. Still, or maybe just for that reason, the otherwise democracy-driven Swiss love to hear stories about royal families and houses.

The list of royals who have visited Switzerland since the 18th century is long. It includes, among others, Joseph II, Holy Roman Emperor, Tsar Alexander I, Emperor Napoleon III, Queen Victoria, Ludwig II of Bavaria, Empress Elisabeth of Austria, Emperor William II, Queen Astrid of Belgium, the queens Emma, Wilhelmina and Beatrix of the Netherlands, Emperor Haile Selassie of Ethiopia, Queen Elisabeth II, King Hussain I, and King Norodom Sihamoni of Cambodia.

The exhibition (Die Royals kommen) recounts stories of the royals in Switzerland and presents rare and precious memorabilia from their travels, for instance, watercolours by Queen Victoria, Empress Sisi’s evening dress and poetic diary, as well as a tuft of lion’s hair that once adorned Emperor Selassie’s hat.

The exposition is a graphic-novel style retrospective of village life in the 19th century.

As you stroll up the village street, you will relive the past through the eyes of Gustin, a fictitious Champérolain who leaves his village as a young lad to become a mercenary in Napoleon’s army. In 1863, after a 50-year absence, Gustin’s homesickness brings him back to a village that has changed dramatically.

The storyboards are on display at strategic points along the main street and provide an engaging way to explore the village and its past. Each panel is divided into two parts:

– In the first part, the illustrations show Gustin rediscovering his village half a century after his departure.

– The second part of the panel depicts scenes from everyday life, concentrating of different aspects of the (pre- and medieval) history and the lifestyle, politics, revolutions, habitations, the mountains, domestic life, local industry, mercenary soldiering, emigration, tourism, the train station and modern transport and other issues.

The town of La Tour-de-Peilz (canton of Vaud) is devoting an open-air exhibition to the painter and sculptor Gustave Courbet (1819-1877).

The route through the old town and along the shores of Lake Geneva shows, among other things, the painter’s last years from 1874 until his death in 1877 in La Tour-de-Peilz.

This open-air museum of the master of realism shows his works and life story and his special bond with Switzerland in the last phase of his life.

The museums are closed until further notice.