Competition: My favorite exhibit

Exhibition: Hauptsache Gesund, Stapferhaus Lenzburg - an interactive experience with something for everyone! What is health, how do you perceive it and what are you doing to preserve it?
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Geschichten erzählen mit KAMISHIBAI
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Richard Paul Lohse’s “Reihenelemente zu rhythmischen Gruppen konzentriert” (1946/1956) is composed of vertical bands in rhythmic color sequences that create the illusion of shimmering planes. Peter Schwitter’s floral interpretation utilizes the strict order of the painting as its starting ...point, using carnations to match the rhythmic color groups. However, the arrangement introduces tension through black chains (representing order and limitation) while allowing the flowers to eventually “escape” the structure and find their own free-flowing rhythm in the room.
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#blumenfürdiekunst #museumspass #iloveswissmuseums #museumsandme #aargauerkunsthaus

Heute in einem Monat ist es soweit.🤎

Am 9. April 2026 startet die neue Saison im Freilichtmuseum Ballenberg.

Handwerk, Bauernhoftiere, historische Gebäude und lebendige Traditionen kehren zurück.
Wir freuen uns darauf, das Museum bald wieder mit Leben zu füllen.

... Bist du am Saisonstart dabei?🥳

#ballenberg #freilichtmuseum #saisonstart #springiscoming #myswitzerland #tradition #freilichtmuseumballenberg #brienz #interlaken #museum

Starting in the mid-1970s Maria Pinińska-Bereś began incorporating performance into her work as an artist and recording these through photography. Interetingly, she also coloured in the pink elements of the performances in the black-and-white photographs, highlighting the importance of the ...colour. While some of her performances like “Pranie I” or “Tylko miotla” centre on her feminist ideals, many of her works also centred on the importance of land and landscapes, constituting land-art.
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“Okno II – odejśie rózu (Window II – the disappearance of pink)” by Maria Pinińska-Bereś (1982)
“Aneksja krajobrazu (Annexation of landscape)” by Maria Pinińska-Bereś (1980)
“Modlitwa o deszcz (Prayer for rain)” by Maria Pinińska-Bereś (1977)
“Krag (Circle)” by Maria Pinińska-Bereś (1976)
“Przenośny pomik pt. ‘Miejsce’ (Portable monument with the title ‘Place’)” by Maria Pinińska-Bereś (1979)
“Sztandar autorski (Flag of the author)” by Maria Pinińska-Bereś (1979)
Two images of “Transparent” by Maria Pinińska-Bereś (1980)
“Tylko miotla (Only a broom)” by Maria Pinińska-Bereś (1984)
“Pranie I (Washing I)” by Maria Pinińska-Bereś (1980)

Part of this year’s Blumen für die Kunst, Samantha Bühler interprets Joseph Marioni’s Yellow Painting (2002). By layering mimosas within translucent metallic structures, she mirrors Marioni’s technique of applying paint in successive, controlled flows.
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#blumenfürdiekunst ...#museumspass #aargauerkunsthaus #iloveswissmuseums #museumsandme

Heute an einem spannenden Rundgang im Thun Panorama teilgenommen. Anlässlich des Frauentages hiess die Führung: Frauenalltag - putzen und flanieren! Ja, ja, wir Mädels waren schon immer und sind es noch heute, taff und unersetzlich. Vive les femmes! #ilovemuseums #museumspass #museumandme

Richard Paul Lohse’s exhibition is a reminder that art can be very different.

This Swiss graphic designer was a very “logical, mathematically precise” artist. Every painting follows a mathematical sequence. As he himself explained, it is a visual representation of a certain rhythm, a... mathematical progression.

I found it surprisingly inspiring.

He also had nothing against other people copying his paintings. In fact, he proudly said that one could dictate his pictures over the phone — they are that logical.

I truly enjoyed today’s guided tour at hauskonstruktiv

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The Kunstmuseum Luzern is dedicating its current exhibition to the work of Maria Pinińska-Bereś, a pioneer of Polish feminist art. Born in 1931 in Katowice, Pinińska-Bereś studied sculpture in Kraków, where she spent the rest of her life. While using cement in her early series of the ...“Rutunda”, she combines the hard and heavy material with soft fabrics. Later she abandoned stone and cement altogether, liking to be able to carry her sculptures by herself. She established the colour pink as a recurring part of her work and often used soft textile elements in combination with wooden panels to construct her works, which comment on the state of women in Poland during communism.
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“Drzwi (Door)” by Maria Pinińska-Bereś (1980)
“Rotunda z lańcuchem (Rotunda with chain)” by Maria Pinińska-Bereś (1963)
“Gorset stojacy (Standing corset)” by Maria Pinińska-Bereś (1967)
“Pokroviec dla mojego kochanka, Glowa (Case for my lover, Head)” by Maria Pinińska-Bereś (1967)
“Mój uroczy pokoik (My lovely little room)” by Maria Pinińska-Bereś (1975)
“Oko (Eye)” by Maria Pinińska-Bereś (1971)
“Okno i demony II (Demon window II)” by Maria Pinińska-Bereś (1996)
“Okno wiosna (Spring window)” by Maria Pinińska-Bereś (1976)
“Lakome sny (Greedy dreams)” by Maria Pinińska-Bereś (1985)
“Mme Récamier” by Maria Pinińska-Bereś (1991)