Latest Events in Zurich(April Updated)

Wu Tsang and Enrique Fuenteblanca present an intervention within the Kunsthaus Zürich’s ReCollect! series, combining works from the collection with a newly developed sound installation. La montaña invertida transforms the dome hall into a space for listening, sensing and rethinking.

Linkin Park Zurich promises to be an unforgettable experience for fans of the iconic band. Scheduled for June 30, 2026, at the renowned StadionLetzigrund in Zurich, Switzerland, this event marks a significant moment in the city's cultural calendar. With a ticket price of 234 USD, attendees will witness a spectacular performance in a venue known for its vibrant atmosphere and excellent acoustics. As the sun sets over Zurich, the anticipation builds for an evening filled with the electrifying energy and powerful music that Linkin Park is celebrated for worldwide. This event not only showcases the band's timeless hits but also offers a unique opportunity to experience their dynamic stage presence in a city that embraces music and art with open arms. With its central location and rich history, StadionLetzigrund provides the perfect backdrop for this much-anticipated concert, ensuring that Linkin Park Zurich will be a night to remember for all who attend.

Metallica, Gojira, Knocked Loose Zurich promises to be a monumental event, captivating audiences at the iconic StadionLetzigrund in Zurich, Switzerland. Scheduled for May 27, 2026, at 18:00, this powerhouse lineup is set to deliver an unforgettable experience. Metallica, renowned for their electrifying performances and legendary status in the heavy metal world, will headline the event, bringing their unparalleled energy and timeless hits to the stage. Joining them, Gojira, the French progressive metal band known for their intricate compositions and environmental themes, adds a unique flair to the evening. Knocked Loose, with their raw and intense hardcore sound, rounds out this stellar lineup, ensuring a diverse and dynamic musical journey for attendees. With the anticipation building, fans from all corners are gearing up for what promises to be a night of pure musical magic at StadionLetzigrund, a venue that has hosted numerous legendary acts and continues to be a beacon for world-class events.

Sechseläuten (Sechseläuten) is an annual traditional spring celebration in Zurich, Switzerland, usually held on the third Monday of April. This festival marks the end of winter and the arrival of spring, and its history can be traced back to the 16th century. The core activity of the Sechseläuten is the burning of a snowman figure called "Böögg", which symbolizes winter. Böögg is placed on a pile of firewood and, after being lit, the time it takes for the snowman's head to explode is considered a traditional way of predicting the upcoming summer weather: the faster it burns, the better the summer will be. On the day of the festival, members of various guilds in Zurich dress in traditional costumes and participate in a grand parade that starts from the city center and eventually reaches the site of the burning of Böögg. In addition, the festival is accompanied by music, dance and rich food, and is an excellent opportunity to experience Zurich's culture and history.

Born in New York in 1956, Cathy Josefowitz spent her childhood and adolescence in Geneva, Switzerland. The artist’s lifelong fascination with the bodily experience was sparked in part by her study of stage design at the Théâtre National de Strasbourg from 1972 – 1973. After attending the École Nationale Supérieure des Beaux-Arts in Paris from 1973 – 1978, Josefowitz studied performing arts and new dance at the renowned Dartington College of Arts in Devon, England from 1979 to 1983 and later choreography at the SNND School for New Dance Development, Amsterdam from 1987 – 1988. During her time in England, Josefowitz became involved in political activism, taking part in demonstrations, marches and conferences supporting both the feminist movement and the gay and lesbian liberation movement. Mirroring the increase in her engagement in political activism and feminism, Josefowitz’s art intensified its representation of female sensation and feeling. The presentation takes its title from Josefowitz’s choreographic piece ‘Release’ (1988), a performance replete with fluid movements that is projected on the wall of the gallery. Drawing on the Anatomical Release technique pioneered by dance teacher and choreographer Mary Fulkerson, Josefowitz falls, twists and rolls in order to let go of tension and cultivate creativity, liberating her body and mind. This feeling of liberation is translated into her later works through the gradual shift from figuration to abstraction. Her relentless and personal quest for expression unites the various works on view in Zurich, with some exhibiting elements of self-portraiture. Josefowitz’s exploration of the corporeal manifests in works from the 1970s that are filled with figures, predominately female, reclining or in varying states of repose. Her oils on cardboard, such as ‘Untitled’ (ca. 1974), are characterised by colourful backgrounds portraying domestic interiors, influenced by the artist’s exploration of stage design. The unnaturalistic colour and vivid brushstrokes of this period, particularly apparent in Josefowitz’s gouches on paper, recall the work of fauvists Henri Matisse and André Derain, who rejected three-dimensionality in their painting practice. Similarly, Josefowitz flattens the body by using a black contour line upon the solid color plane to portray the profile of the nude figure; yet, Josefowitz challenges the traditional depiction of the reclining nude through her female gaze and contemporary position. The simplification of the subjects’ form makes the work appear abstract and demonstrates the ever-evolving nature of her practice. These paintings are complemented by figurative works from the early 1990s in which Josefowitz’s visual language enters a new phase, revealing a different way of working with the body through a shift in pattern, style and form. Using various combinations of oil, gouache, charcoal, pastel or chalk, the artist’s biomorphic subjects reached a new level of simplification, becoming indistinguishable from the chairs on which they rest. ‘Untitled’ (1993) exemplifies this movement towards a more non-representational style, achieved by a focus on shape of the figure and bold planes of color. Releasing her subjects from historic depictions of the female body, Josefowitz reveals a unique awareness of and sensitivity to the physical forms of the self. The backgrounds of the works have also entered a transformation, characterised by geometric patterns and curvilinear forms, resulting in the isolation of the figure in space. This development is also charted in her series of watercolour paintings on receipts (1988 – 1992) exploring the female nude on a more intimate scale. A travelogue of her trip from Parma to Vienna in the summer of 1988, these works exhibit elements of autobiography. Using watercolor and ink, the contorted limbs and fluid brushstrokes in ‘Le Vieux Bistrot - Paris’ (1991) evoke Josefowitz’s flexible movements in ‘Release,’ whilst the checkered background of ‘Trattoria dall’Amelia – Mestre’ (1992) alludes to her stylized domestic interiors from the 1970s and geometric patterns from the 1990s. The figurative realm soon gave way to increasing abstraction with Josefowitz’s Prayers series (1998 – 2001). Depicting prayer shawls and mats, the artist uses a freedom of expression beyond the constraints of the figurative and the abstract. Often named after family members or a place she loved, such as ‘Parme’ (c 2001) or ‘Patisserie Égyptienne’ (1999), these large-format paintings see Josefowitz using a reduced color palette. These are placed in tandem with the similarly monumental Venus series (2004 – 2006). Josefowitz became increasingly engaged in the physicality of creation, intersecting her performative and pictorial practices by working on the floor of her studio instead of the wall. For these works, the artist placed fabric on the canvas in a dynamic position and traced around it; the resulting abstracted forms, painted in blocks of colour, express the body’s presence and represent self-portraits. The freedom and movement of these forms are juxtaposed with depictions of static reclining nudes that revist tropes of womanhood from classicism, referenced through titles such as ‘D’après I’Olympia de Manet’ (2004 – 2005) and ‘D’Après la Vénus de Titien’ (2004 – 2006). Harking back to her work of the 1970s that challenged the traditional male gaze of art history, the Venus series articulates the different configurations a human body can take as a form of both resilience and liberation. In surveying the development and revisitations of the artist’s visual language, this exhibition attests to Josefowitz’s enduring determination to depict the figure in both its anatomical and metaphysical dimensions.

His photographs demonstrate an innate understanding of how forms, colours, textures and depth translate to the pictorial plane. He is working with a visual vocabulary that has been well established by the work of many contemporary photographers. Mizutani’s work serves as a good gauge of the visual tropes and photographic styles that are prevalent among young photographers in Japan. Yoshinori Mizutani lives and works in Tokyo. Mizutani graduated from the Tokyo College of Photography in 2012. He has won a number of prestigious awards including Japan Photo Award in 2013 as well as Foam Talent Call and Lens Culture Emerging Talents Top 50 in 2014. Since 2012 he has exhibited in many international institutions in Japan, China, Belgium, Great Britain, Italy, and Switzerland, and has published, among others, ‘Tokyo Parrots’, Colors’, ‘Yusurika’ and ‘Hanon’.

Attersee’s independent trailblazing creative attitude passed through the modes of Viennese Actionism, Fluxus, international Pop and Dada in order to subvert them with virtuosic technique and imaginative and humorous invention always with an eye to the themes of consumption, love, male beauty and food. This exhibition at Galerie Gmurzynska follows his celebrated reemergence in New York after two solo exhibitions there last year as well as the 2023 Los Angeles restaging of the 1987 artist’s carnival “Luna Luna,” featuring Attersee’s – also a champion sailor – boat swing ride. 1940 born in Bratislava, Slovakia, Attersee's artistic journey began during his youth when he moved to Austria near Linz and began writing novels, composing music, and creating comics at Lake Attersee 1966 Christian Ludwig Attersee adopts his iconic surname ATTERSEE after the lake 1966 first solo show in Berlin is followed by exhibitions at the avant-garde Galerie nächst St. Stephan in Vienna and Galerie Bruno Bischofberger in Zürich 1977 representation at documenta 6 in Kassel 1981 exhibition at the Royal Academy, London 1986 exhibition at the Stedelijk Museum Amsterdam and the Nationalgalerie in Berlin, curated by Rudi Fuchs 1984 representation of Austria at the Venice Biennale, organized by Hans Hollein 1987 Attersee, Joseph Beuys, Georg Baselitz, Jean-Michel Basquiat, Salvador Dali, Keith Haring, David Hockney, Rebecca Horn, Roy Lichtenstein and Jean Tinguely participate in “Luna Luna” carnival by Andre Heller 1997 exhibition at the Albertina in Vienna 2005 design of the stage set for Stravinsky’s “Petrushka” at the State Opera in Vienna 2008 direction of the opera “Salome” by Richard Strauss in Bremen 2019 major retrospective at the Belvedere 21 in Vienna The lasting impact of Attersee on contemporary art can be summed up by contemporary star Jamian Juliano-Villani proclaiming: “He is a genius. We have decided he is more advanced than us.” This exhibition is accompanied by a fully illustrated monographic catalogue published by Kunstforum Wien with contributions from Max Hollein, Ingried Brugger, Daniela Gregori and Rainer Metzger.

Galerie Gmurzynska announces a career-spanning solo exhibition of the legendary Austrian artist, Christian Ludwig Attersee in both of its Zürich spaces. The exhibition brings together paintings and sculptures from 1960s through his most recent genre-defying paintings of today. Attersee’s independent trailblazing creative attitude passed through the modes of Viennese Actionism, Fluxus, international Pop and Dada in order to subvert them with virtuosic technique and imaginative and humorous invention always with an eye to the themes of consumption, love, male beauty and food. This exhibition at Galerie Gmurzynska follows his celebrated reemergence in New York after two solo exhibitions there last year as well as the 2023 Los Angeles restaging of the 1987 artist’s carnival “Luna Luna,” featuring Attersee’s – also a champion sailor – boat swing ride. 1940 born in Bratislava, Slovakia, Attersee’s artistic journey began during his youth when he moved to Austria near Linz and began writing novels, composing music, and creating comics at Lake Attersee • 1966 Christian Ludwig Attersee adopts his iconic surname ATTERSEE after the lake • 1966 first solo show in Berlin is followed by exhibitions at the avant-garde Galerie nächst St. Stephan in Vienna and Galerie Bruno Bischofberger in Zürich • 1977 representation at documenta 6 in Kassel • 1981 exhibition at the Royal Academy, London • 1986 exhibition at the Stedelijk Museum Amsterdam and the Nationalgalerie in Berlin, curated by Rudi Fuchs • 1984 representation of Austria at the Venice Biennale, organized by Hans Hollein • 1987 Attersee, Joseph Beuys, Georg Baselitz, Jean-Michel Basquiat, Salvador Dali, Keith Haring, David Hockney, Rebecca Horn, Roy Lichtenstein and Jean Tinguely participate in “Luna Luna” carnival by Andre Heller • 1997 exhibition at the Albertina in Vienna • 2005 design of the stage set for Stravinsky’s “Petrushka” at the State Opera in Vienna • 2008 direction of the opera “Salome” by Richard Strauss in Bremen • 2019 major retrospective at the Belvedere 21 in Vienna The lasting impact of Attersee on contemporary art can be summed up by contemporary star Jamian JulianoVillani proclaiming: “He is a genius. We have decided he is more advanced than us.” This exhibition is accompanied by a fully illustrated monographic catalogue published by Kunstforum Wien with contributions from Max Hollein, Ingried Brugger, Daniela Gregori and Rainer Metzger.

Rockenschaub has been transforming spaces with minimalist multimedia installations for around forty years. With constantly changing shapes, colours, sizes, materials and technologies – sometimes abstract, sometimes simplified figurative, but always with radical reduction and laconic smoothness – his installations create visual sounds and rhythms that relate to the architecture in question, setting it in tension and vibration like a musical composition. Rockenschaub, who has also worked as a techno DJ, composes his art like musical tracks: empty spaces correspond to pauses, settings create sounds and beats. For this new exhibition, the artist has produced rectangular, monochrome lacquered MDF panels of varying colour and size, which he positions above and below a continuous horizontal line on the walls of the exhibition space. In this way he organizes the space and creates a pulsating atmosphere that feels like a soundscape – stimulating visually, physically and emotionally. The idea of painting evoked by the coloured MDF panels is completely removed: In their pointed interplay, the objects experience an enormous expansion and completely transform their surroundings. Instead of looking at pictures, we experience the whole space as a picture. Rockenschaub never thinks in terms of individual works. Each object has a specific function within the overall context of an exhibition. The precise placement of the elements in dialogue with the architecture is crucial to creating dynamism. Although the artist designs his installations precisely on the computer in advance, the final steps are ultimately spontaneous and playful. Despite their edgy coolness, playfulness and subtle humour are the parameters within which Rockenschaub’s works unfold their energy. This is precisely what his work, which emerged in the 1980s in the context of the Neo Geo movement, is all about: using radically reduced means to achieve powerful atmospheric effects that appeal to all the senses. In contrast to classical minimal or conceptual art, he creates a mixture of pop and primary structures that recall traditional genres of art history as well as our thoroughly designed everyday life. Rockenschaub nonchalantly disrupts both – and ends up somewhere between fun, funky and frivolous: with an art that defies any art historical categorization. Gesine Borcherdt Gerwald Rockenschaub was born in 1952 in Linz, Austria. He works and lives in Berlin, Germany. His most recent solo-exhibitions took place in museums such as Belvedere 21, Vienna, AT (2022-2023); Schlossmuseum Linz, Linz, AT (2023), Sammlung Goetz, Munich, DE (2017); Kunstmuseum St. Gallen, CH (2016); Neuer Berliner Kunstverein, Berlin, DE (2016); and The M Building, Miami, FL, US (2014). In 1993 he represented Austria together with Andrea Fraser and Christian Philipp Müller at the 45th Biennale of Venice. Group-shows in major museums include: Faking the Real, Kunsthaus Graz, AT (2022); Wände | Walls, Kunstmuseum Stuttgart, DE (2020); Abstract painting now!, Kunsthalle Krems, Krems an der Donau, AT (2017); Painting 2.0. Malerei im Informationszeitalter, MUMOK Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, AT (2016); Unlimited, Art Basel, Basel, CH (2015); Künstler und Dichter, Secession, Vienna, AT (2015, curated by Ugo Rondinone); and Decorum Carpets & tapestries by artists, Power Station of Art, Shanghai, CN (2014).