Latest Events in Zurich(March Updated)

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.

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.

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.

The Zurich Marathon is popular both with pro athletes and amateurs and provides a unique running experience in and around Zurich. The route runs for the most part along Lake Zurich and consequently is not only attractive as a sports event, but also visually. The start and finish lines are at the upper lake basin and go through downtown Zurich, which provides an impressive backdrop for spectators. In addition to the marathon, there is also a half-marathon, and a city run (10k). Enjoy the fast course through the beautiful city of Zurich and along the unique Lake Zurich.

Accessories have always been more than mere decoration: hats, scarves, gloves, bags and shoes reflect social, political and religious affiliation, denote power and status, protect and give form to the body, or represent the latest fashions. The exhibition features items from the Swiss National Museum collection to show how accessories are shaped by social change. From the strict dress codes of the early modern period to current-day trends that play with gender norms, the exhibition takes a look at fashion history from head to toe.

This exhibition, developed in close collaboration with the FIFA Innovation Centre, aims to explore the evolving relationship between people and technology in football. Visitors can experience firsthand the digital technologies and innovations available on the pitch. The exhibition will revolve around five core themes: broadcasting and media, intelligent data, referees and fair play, event organization, and our Innovation Lab – where visitors can put their ideas into practice.

Even before industrialization, children made vital contributions to the family economy, whether at home, in the fields, or in family handicrafts. With industrialization, children—especially those from impoverished families—were exploited as cheap labor in textile factories. They worked long hours, in dangerous or harmful jobs, and were often unable to attend school. From the 1830s onward, states gradually implemented compulsory education. In 1877, the Federal Factory Act prohibited children under the age of 14 from working. Nevertheless, children were still assigned to various jobs, both at home and on farms. This exhibition explores how children forcibly taken from their families and forced to work in foster care and orphanages. It also highlights those who advocate for children's education and protection, examining the issue from a modern perspective.

Galerie Urs Meile is pleased to announce the second chapter of its new multi-section exhibition program – Anker Protocol 2.0 – Storage, presented at its Zurich (Anker Street) space. Continuing Galerie Urs Meile's long-standing tradition of international art exchange and sustained focus on Chinese contemporary art for over thirty years, the exhibition brings together ten artists across painting, installation, and video. Curated by independent curator Yang Zi, the exhibition continues the thematic explorations presented in Anker Protocol 1.0, which premiered at Galerie Urs Meile Beijing in 2022.

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.

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.