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Kunsthalle Palazzo

Name: Kunsthalle Palazzo
Address: Poststrasse 2, Liestal, 4410, CH
Telephone: +41619215062
Price range: £

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Kunsthalle Palazzo

Die 1979 gegründete Kunsthalle Palazzo ist ein Ausstellungsort für zeitgenössische Kunst. Körpersprache.

Sofía Durrieu, Pawel Ferus, Thomas Hauri, Anastasia Müller
25 April – 28 June 2026

09/06/2026

Pawel Ferus
during the exhibition "Körpersprache" with , and

A marble tomcat named "Darwin" sits with one damaged eye, gazing upwards. The expression oscillates between detachment, vulnerability and cunning. While the appearance of the cat recalls the visual worlds of animation and comics, the marble lends the figure weight and permanence. On the wall hang two crosses, one black and one white, titled “Plus” and “Plus in the Dark”. Their forms are reduced, slightly uneven, with visible traces of their making. They hover between sign and body, and can be read both as crosses and as plus symbols. Two figures stand on metal legs, entering into a relationship and a quiet exchange with one another. One stretches upwards and leans slightly, while the other remains more compact, pierced by an opening. They seem to be saying to each other: “I say YES, I say NO”. On the floor stands "Senza fine", a heavy marble frame containing a video of Paweł Ferus repeatedly working a block of stone. Through repetition, dust and physical exertion, sculpture becomes tangible as a process. Visitors can put on yellow ear protectors and listen to the steady rhythm of unending blows. Paweł Ferus works with traditional sculptural techniques, using marble and plaster as well as contemporary materials—all refined with a subtle touch of humour.

Photos:
Curated by and

02/06/2026

Sofía Durrieu
in the exhibition "Körpersprache" with , and

STEP INSIDE / LIVING ROOM, 2026
Sofía Durrieu works with the body as both a reference point and a working instrument. For the exhibition “Körpersprache”, she has created a walk-in installation reminiscent of a living and resonant space. A carpet in black and beige covers the entire floor of the room. We are invited to step into the darker area, remove our shoes, and feel the soft surface. We stand on a light-coloured field covered with dark, irregular shapes. The arrangement recalls an abstract painting. A score composed of feet, hands, knees, and toes becomes visible. It traces pathways and guides us through the space like a choreography. We follow these traces, entering the image not only with our eyes but with our whole body. Step by step, the path leads us forward towards the back wall, where we encounter an arrangement of cushions inviting us to pause and meditate. On the way back, the mode of movement changes. The steps are now offset, the points of contact more confined. Another sequence directs us to place our hands and knees within predefined outlines. The carpet is not only to be walked upon, but also explored through touch. Along the walls, framed instructions such as “3 beats for step” or “7 beats for step” appear, their design reminiscent of decorative wall pieces in domestic interiors. A metronome sets the rhythm, while tuning forks register the body’s vibrations. Along the sides, strips with different surfaces—textile elements, metal chains, and small objects reminiscent of prayer wheels—invite tactile exploration. One of the passageways is closed, leaving only a narrow gap at floor level. Visitors may kneel, rest their heads on the carpet, and look into the adjoining space. The installation heightens awareness of how space is experienced through the body. Perception unfolds through movement, vibration, and touch. In this way, the work becomes an image that can be physically entered and experienced with the whole body.

Photos by
Curated by and

26/05/2026

Becoming Campaspe, 2026 by Anastasia Müller
in the exhibition "Körpersprache" with , , and

The installation "Becoming Campaspe" explores the significance of beauty in literature, mythology, art, society and the economy. It draws inspiration from Campaspe, a romantic comedy by the English writer John Lyly set in ancient Greece, centring on a love triangle between Campaspe, Alexander the Great and Apelles. During the act of painting Campaspe’s portrait, Apelles falls in love with her, prompting Alexander to give her to the painter as a tribute to the importance of art.

Engaging with this narrative and with ideals of beauty, Anastasia Müller developed her own script as the basis for the videos projected onto the wall. Alongside figures such as an artist, Alexander and Campaspe, the work introduces a monk, a scientist and a beauty blogger — all roles performed by the non-binary performer Sascha Rijkeboer. Guided by the scientist and captivated by Campaspe’s beauty, Alexander ultimately decides to undergo cosmetic surgery. Adjacent to the projection, metal frameworks support sculptures made of ceramic, plastic and resin. Fragments of bodies appear as 3D prints assembled into new sculptural forms. References to Leda and Zeus, approaching her in the form of a swan, recur throughout the installation, alongside the repeated presence of Alexander’s face. Through contemporary scanning and printing technologies, Müller reflects on the endless reproduction of idealised beauty.

In the small room, four cylindrical Plexiglas containers filled with syringes used in the beauty industry stand like columns of a temple structure. They evoke both devotion to beauty and the growing economic power of the beauty industry. Behind them, a projected video shows Alexander’s face being altered during a cosmetic procedure.

Performance by
Photos by
Curated by and

19/05/2026

Thomas Hauri
Ausstellung «Körpersprache» (25. April – 28. Juni 2026)
mit , , und

Beim Eintritt in die Kunsthalle Palazzo werden wir von den Werken von Thomas Hauri empfangen. Diese hängen sowohl auf Augenhöhe wie auch weiter oben über unseren Köpfen. Der ganze Raum bis zur Decke wird bespielt und die Dimension des Raumes wird körperlich spürbar. Die Präsentation der Werke tritt in Dialog mit der Architektur der Ausstellungsräume. Thomas Hauri arbeitet mit grossformatigem Aquarell auf Papier, das er über lange Zeiträume hinweg in zahlreichen Schichten bearbeitet. Mit Wasser, Schwämmen und Bürsten aktiviert, verdünnt oder entfernt er Farbe immer wieder neu. Dabei entstehen Spuren durch körperliche Bewegung, Abdrucke von Materialien oder den Atelierboden selbst. Auch Kratzspuren und Verletzungen des Papiers werden bewusst Teil der Werke.

Thomas Hauri
Exhibition “Körpersprache” (25 April – 28 June 2026)
featuring , , and

Upon entering Kunsthalle Palazzo, visitors are greeted by the works of Thomas Hauri. Suspended both at eye level and high above our heads, the works extend throughout the space up to the ceiling, making the dimensions of the room physically palpable. Their presentation enters into dialogue with the architecture of the exhibition spaces. Thomas Hauri works with large-scale watercolour on paper, building his compositions over long periods of time through numerous layers. Using water, sponges and brushes, he repeatedly activates, dilutes and removes pigment. In the process, traces of bodily movement, imprints of materials and even marks from the studio floor become embedded in the surface. Scratches and abrasions of the paper are consciously accepted as part of the works themselves.

Photos:

Curated by ,

12/05/2026

An der Decke schwebt, an einer Metallkette befestigt, ein grossformatiger, hellblau gefärbter Kopf. Langsam dreht er sich um die eigene Achse. Der Körper fehlt, sodass sich der Blick ganz auf das Gesicht richtet. Halb geschlossene Augen und ein leicht geöffneter Mund zeigen einen Zustand zwischen Wachen und Schlafen, ein «Snooze». Mit der Rotation verändert sich die Wahrnehmung: Der Kopf öffnet sich. Im Inneren wird ein Gerüst sichtbar. Pawel Ferus hat sich von einer Puttodarstellung, einem engelsähnlichen Wesen inspirieren lassen und dessen Kopf wie ein Ballon aufgebläht und überdimensioniert.
Snooze, 2024

Die Arbeit ist Teil der Ausstellung «Körpersprache» mit Sofía Durrieu , Pawel Ferus , Thomas Hauri und Anastasia Müller . Die Ausstellung versammelt vier künstlerische Positionen, die sich mit dem Körper und seinem Verhältnis zum Raum beschäftigen – über Bewegung, Wahrnehmung und Kommunikation.

25. April – 28. Juni 2026
Auffahrt: Donnerstag, 14. Mai, 14–18 Uhr geöffnet.

Suspended from the ceiling by a metal chain, a large-scale light blue head slowly rotates around its own axis. The body is absent, directing the viewer’s attention entirely to the face. Half-closed eyes and a slightly open mouth suggest a state between wakefulness and sleep — a “snooze”. As the sculpture turns, perception shifts: the head opens up, revealing an internal framework. Pawel Ferus drew inspiration from a putto figure, an angelic being, inflating and exaggerating its head like a balloon.
Snooze, 2024

The work is part of the exhibition «Körpersprache» featuring Sofía Durrieu , Pawel Ferus , Thomas Hauri and Anastasia Müller . The exhibition brings together four artistic positions exploring the body and its relationship to space through movement, perception and communication.

25 April – 28 June 2026
Ascension Day: Thursday, 14 May, open 2–6 pm.

Photo:
Curated by:

21/04/2026

Wir sind mitten im Aufbau – erste Eindrücke aus dem Ausstellungsraum.

Vernissage «Körpersprache»
Fr, 24.04.2026 · 18–21 Uhr

Mit Arbeiten von , , und .
Kommt vorbei zur Vernissage und erlebt Wahrnehmung in Bewegung – im Raum und im Dialog mit den Arbeiten.
__

We are in the midst of the installation – first impressions from the exhibition space.

Opening “Körpersprache”
Fri, 24 April 2026 · 6–9 pm

Featuring works by , , and .
Join us for the opening and experience perception in motion – within the space and in dialogue with the works.

14/04/2026

SAVE THE DATE!
Ausstellung «Körpersprache»
Sofía Durrieu, Pawel Ferus, Thomas Hauri, Anastasia Müller

25. April – 28. Juni 2026

Vernissage:
Fr, 24. April 2026
18 – 21 Uhr

Die Ausstellung «Körpersprache» vereint vier Künstler:innen, die sich auf unterschiedliche Weise mit dem Körper und seinem Verhältnis zum Raum auseinandersetzen. Der Titel ist bewusst vielschichtig: Körpersprache als nonverbale Kommunikation – aber auch als Präsenz von Objekten, die im Raum als eigenständige Körper erscheinen und mit ihrer Umgebung interagieren.

Malerei, Skulptur und forschende Ansätze treffen aufeinander und laden dazu ein, den eigenen Körper im Raum neu wahrzunehmen – in Bewegung, in Beziehung und im Dialog mit den Werken.

Wir freuen uns auf euch!

SAVE THE DATE
Exhibition “Körpersprache"
Sofía Durrieu, Pawel Ferus, Thomas Hauri, Anastasia Müller
April 25 – June 28, 2026

Opening (Vernissage):
Fri, April 24, 2026
6 – 9 pm

The exhibition "Körpersprache" brings together four artists who explore the body and its relationship to space in distinct ways. The title is intentionally layered: body language as nonverbal communication—gestures, postures, and movement—but also as the presence of objects that appear as bodies themselves, interacting with their surroundings and unfolding their own spatial agency.

Painting, sculpture, and research-based approaches converge, inviting visitors to become aware of their own bodies in space—through movement, interaction, and dialogue with the artworks.

We look forward to seeing you!

Animation by ,

Kuratiert / Curated by ,

26/03/2026

Wir blicken zurück auf die «Regionale 26 – 8ung» und sagen von Herzen Danke an alle Künstler:innen für eure Zusammenarbeit.
Hier geht’s zur digitalen Führung durch die Ausstellung «Regionale 26 – 8ung» mit den Kurator:innen und

We look back on «Regionale 26 – 8ung». A heartfelt thank you to all the artists for your wonderful collaboration.
Digital tour of the exhibition «Regionale 26 - 8ung» with the curators and

Künstler:innen/Artists:babchenko

06/02/2026

Last day — Sunday, 8 February 2026 ✨
At 3 p.m. we warmly invite you to join us for a guided tour.
Together with the artists, we will revisit the works on display and reflect on them in conversation.
💛 A huge thank you to all participating artists!

We are delighted to present works by Maja Rieder as part of the exhibition «8ung», presented within Regionale 26 .

For the series shown here, Maja Rieder has worked with tempera paints. These are pigments mixed with egg, a technique with a long tradition that predates the invention of oil paint. Unlike the historical method, which relied on natural pigments, Maja Rieder primarily uses synthetic ones. As her support, she works on paper stretched over a wooden frame. Her decision in favour of paper and against canvas is based on factors such as hardness and stability, which suit her way of painting. The works evoke heraldic shields, signal signs or flags. Fields of colour contrast with one another and appear to be set in motion. On the wall, the works are hung beside and above one another in a grid structure marked by intentional gaps. Each individual painting competes for attention while simultaneously forming a building block within the larger wall ensemble.In some of the works, figurative motifs can be discerned: a bird, a hand holding a key, or a horse and a dragon. Some motifs are painted, others printed and collaged. What they share is their origin: all are drawn from images by the Italian painter Carlo Crivelli, an artist positioned at the threshold between the late Middle Ages and the Renaissance, who also worked with tempera.

From the series ‘Schild’, 2025
Egg tempera, gouache, ink and collage on paper
Each 60 x 50/ 50 x 60 cm
Courtesy Tony Wuethrich Gallery

Photos:
Curated by and

@regionale_org

04/02/2026

Last days — until Sunday, 8 February 2026
Exhibition «8ung» as part of Regionale
We are delighted to also present works by Eva Gentner .

On view:
La Libertad, 2023
Plaster, sheet metal, nail
and
Universe no. 2, 2025
Ostrich eggs

Herman Melville’s novel ‘Moby-Dick’ has accompanied Eva Gentner for many years. The book is a continual point of reference for her, with its motifs and ideas repeatedly flowing into her artistic practice. In the work ‘La Libertad’, she focuses on a particularly striking element of the story: the gold coin that Captain Ahab nails to the ship’s mast as a reward for the sighting of the white whale. Minted in Quito between 1838 and 1843, the coin was the first gold currency of independent Ecuador. In the novel, it becomes a gleaming promise – a small, precious object that attracts and motivates the crew, while simultaneously drawing them ever deeper into Ahab’s destructive quest for revenge. Gentner is interested in this coin as a symbol of economic promise and the seductive force of capitalism. In her artistic translation, she reveals how a single object can concentrate collective hopes, projections and desires. Her work thus reaches beyond the literary source to pose a fundamental question: how do systems of value shape our thinking and actions – then and now?

From the ceiling hangs a delicate structure made of three ostrich eggs. Eva Gentner interweaves personal experiences of pregnancy and birth with questions of cosmology and creation myths. Drawing on a publication by KU Leuven that describes the early universe as a ‘cosmic egg’, she explores the egg as a symbol of beginnings and transformation.

Photo:
Curated by and

Adresse

Poststrasse 2
Liestal
4410

Öffnungszeiten

Mittwoch	14:00 - 18:00
Donnerstag	14:00 - 18:00
Freitag	14:00 - 18:00
Samstag	13:00 - 17:00
Sonntag	13:00 - 17:00

Telefon

+41619215062

Webseite

https://www.palazzo.ch/kunsthalle/

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