“An exhibition that brings fundamental change. The Helmhaus’s white floors are its trademark. Yet they are also polarising. Some people like them, while others, for various reasons, find them objectionable. Lynne Gbodjrou Kouassi is an artist who has been working with – and against – those same white floors for many years now. For the 2019 exhibition of color, for example, she painted the floor of the first floor purple – even if the Helmhaus reverted to its standard white as soon as the show was over. The new institutional identities that Lynne Gbodjrou Kouassi is now proposing will be revealed in this first major solo exhibition of hers, called salbung – anointing. The act of rubbing a substance into the skin can be soothing; but it can also signify a shift or transfer of power. The artist developed this exhibition in close collaboration with the Helmhaus over a period of several years. Artists: Lynne Gbodjrou Kouassi, in collaboration with Daniel Vollmond (artist), Ann Karimi Kern (graphic artist) and Daniel Morgenthaler (curator).” (official description)

Lynne Gbodjrou Kouassi: Salbung (Anointing) / Helmhaus Zürich. Zürich (Switzerland), February 6, 2026.

Kaiserwache is an artist-run space for contemporary art housed in a former public restroom from 1906 in Freiburg im Breisgau (Germany). Kaiserwache is currently hosting a solo exhibition by the Swiss artist collective Protoplast, invited by curator Ilja Zaharov. The exhibition runs until 26 April 2026 and can be visited by appointment.

Protoplast (est. 1990, Basel, Switzerland) is a three-member artist collective that has been generating artefacts for over 35 years: cross-domain works oscillating between hybrid glitch and cultural residue. Their practice unfolds across painting, woodcut, drawing, screen printing, etching, sculpture, video, poster art, and large-scale public interventions – a singular visual language running through every medium.

The works operate within a tension of space, time, desire, suffering, and humour. Pop-cultural references meet the legacy of traditional image-making techniques, generating meaning through broken causality and individual association. The group maintains outward anonymity; authorship remains collective.

Protoplast Solo Exhibition at Kaiserwache, Freiburg. Freiburg im Breisgau, March 27, 2026.

.

Out now: VernissageTV Magazine No. 62, April 2026. In this issue: Simco Audio / Nicolas Party / Frank Gehry / Masonic Objects.

Order print copy via Peecho.

The artist couple Daniel Göttin and Gerda Maise from Basel pay tribute to the former power station in Freiburg with an exciting installation. In the basement of the power station, Daniel Göttin will strung the numerous pillars together to form a labyrinth. Gerda Maise will bring coloured light into the dark basement. The artistic collaboration leads visitors to experience and perceive the formerly functional location in a new light. (Official description).

Gerda Maise & Daniel Göttin: Spannung. Galerie für Gegenwartskunst im E-Werk Freiburg. Freiburg im Breisgau (Germany), March 27, 2026.

The “Monuments” exhibition is on view from October 23, 2025, through May 3, 2026, at The Geffen Contemporary at MOCA (152 North Central Avenue, Los Angeles) and in collaboration with The Brick (518 North Western Avenue). Co-organized by MOCA and The Brick, it is co-curated by Hamza Walker (Director of The Brick), Bennett Simpson (Senior Curator at MOCA), and artist Kara Walker, with assistance from Hannah Burstein and Paula Kroll. The show brings together decommissioned public monuments — primarily Confederate statues removed from various U.S. cities in recent years — and places them alongside works by 19 contemporary artists. The monuments, displayed in their current altered states (some vandalized), are presented with newly commissioned and existing artworks by artists including Kara Walker (whose large-scale installation Unmanned Drone is at The Brick), Bethany Collins, Abigail DeVille, Stan Douglas, Karon Davis, Kevin Jerome Everson, Cauleen Smith, and others. It reflects on the wave of monument removals following events like the 2017 Charlottesville “Unite the Right” rally, exploring themes of national identity, historical memory, post-Civil War legacies, anti-Blackness, memorialization, and how these contested objects resonate in today’s political landscape. It examines themes related to history, memory, and public commemoration in America.

Monuments / Group Exhibition at The Geffen at MOCA Los Angeles. Los Angeles, March 6, 2026.