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Mittwoch 12:00 - 18:00 Samstag 11:00 - 17:00 Sonntag 11:00 - 17:00

*kurator

Name: *kurator
Address: Klaus-Gebert-Strasse 5, Rapperswil, 8640, CH
Telephone: +41 55 225 74 74

Die Gebert Stiftung für Kultur vergibt seit 2007 jeweils ein 20-monatiges kuratorisches Stipendium in der Alten Fabrik in Rapperswil-Jona, CH.

Since 2007 the Gebert Foundation has been awarding a curatorial grant at Alte Fabrik in Rapperswil-Jona, CH.

20/08/2026

…and with this the MINERVA series is coming to an end
⛲️MINERVA IV/IV opening Friday 28.8. 6pm⛲️

Please come to celebrate with us, happy to see many faces there!

28/07/2026

Bodies are time capsules – storing memory from distant times and places. Recalling the boundless memory of her high school history teacher, VIBEKE MASCINI reconnected with him to ask if, twenty years after his retirement, he was still able to draw a map of Europe by heart as he used to do, marking the contours of even the smallest peninsula and now outdated borders. Peninsula reveals an embodied map, performed by muscle memory. The sound composition marks the first chapter of the ongoing
«lullaeton project», a self-developed music genre imagined in collaboration with Nicolás Sánchez aka nyksan. Using fluid media including video, installation, sound and text, Vibeke Mascini explores the sensorial scaling of abstract phenomena, with the intention to seek agency from intimacy. […]
(Text by Vibeke Mascini)
Where did the borders in your head originate?

Peninsula, 2022

Vibeke Mascini
on view until 2.8.26 at Kunst(Zeug)Haus
as part of the group exhibition A PHANTOM WITH LIMBS OF STEEL
MINERVA III/IV

curated by

📸 Studio Oliver Kümmerli Oliver Kümmerli

07/07/2026

GREGOR FREHNER works with wax. It helps him to explore architectural and ideological structures and histories inscribed in the built environment. He recreates them, models, casts, and tries to understand them. Frehner focuses on the structures that hold these systems together—support structures. What remains standing when everything else lies in ruins? In this context, wax acts as a repository of history, violence and transformation.
For years, Frehner has been researching fascist architecture. He is not interested in it as a monument, but in the ideology embedded within it. He examines how architecture integrates itself into modern thought, permeates its structures, reconstructs them, liquefies them, fuses them, casts them and reconstructs them—not to reproduce, but to make visible how power takes shape.
[…]
Who defines protection? Who is
granted to erect and defend borders? And
against whom is this desire for isolation
directed?

Bunker, 2024

on view until 2.8.26 at Kunst(Zeug)Haus
as part of the group exhibition A PHANTOM WITH LIMBS OF STEEL
MINERVA III/IV

curated by

📸 Studio Oliver Kümmerli Oliver Kümmerli

06/07/2026

In „Memoria del Agua“, we encounter water as a carrier of memories. How does memory sound in water? Through his own memories, JONATHAN OSPINA carefully approaches the stories of current and historical forces that the river has absorbed. These memories gently intertwine with the songs of the Alabaos, which give space to the grief of colonial continuities. On the Magdalena River, enslaved people were forced to transport the colonists’ heavy loads across the river.
The effects of colonial violence and its aftermath are still felt today. This work gives space to mourn, personal loss, current and historical armed conflicts and stories of oppression.

Memoria del Agua, 2026
by Jonathan Ospina

21.2.-29.3.26 *ALTEFABRIK
as part of the group exhibition CHRONICLES OF THE UNWRITTEN
MINERVA I/IV

curated by

📷by Studio Oliver Kümmerli Oliver Kümmerli

06/07/2026

„4 Waters – Deep Implicancy“ by ARJUNA NEUMAN & DENISE FERREIRA DA SILVA is as much a film project and an experiment in collaboration as it is a set of fragments drawn from a reimagined cosmos.
These fragments, sounds, and stories help us convey the experiential moment of entanglement, or rather, they describe an
entangled moment prior to separation, what we call «Deep Implicancy». One such story we follow is water, both as
it phases transitions with and into other matters including life, but also as it combines disparate geographies, bodies of / in water, and four islands within them – Lesvos, Haiti, Marshall Islands, Tiwi. Through a series of experimental migrations and elemental crossings we begin to question the form of the universal human, its calcified and exceptional origins, and in particular its ethical program.
Wandering and wondering through a transformative figure of justice, we ask, what if our image of the world recalled
phase instead of measure? And what becomes of ethics if we let go of value? (Text by Arjuna Neuman & Denise Ferreira da Silva)

4 Waters – Deep Implicancy, 2018
by Arjuna Neuman & Denise Ferreira da Silva

21.2.-29.3.26 *ALTEFABRIK
as part of the group exhibition CHRONICLES OF THE UNWRITTEN
MINERVA I/IV

curated by

📷by Studio Oliver Kümmerli Oliver Kümmerli

06/07/2026

Turtle in a soup?
Bartholomeo was REBECCA SOLARIs childhood turtle, they dreamt of growing old together, crawling through the streets, sharing wisdoms and life. But one day when Rebecca came home from school, Bartholomeo had passed away, mother told them, standing on the stove, stirring in a pot. Did Bartholomeo really end up in the minestrone soup and got stuck in their throat? Ever since that day, from time to time he is screaming from within Rebecca’s body, calling from another time with the voice of old knowledge, resisting norms, sharing a glimpse into an alternative life and legends of ticino.

Mineströn I&II, 2025
Mineströn III, 2026
by .sola.trudi

21.2.-29.3.26 *ALTEFABRIK
as part of the group exhibition CHRONICLES OF THE UNWRITTEN
MINERVA I/IV

curated by

📷by Studio Oliver Kümmerli Oliver Kümmerli

06/07/2026

„The Mother of the Mother of the Mother“ by PAULA SANTOMÉ establishes a conceptual link between hydrofeminism and oral tradition by approaching the body as a fluid, relational entity shaped by shared vital cycles. Drawing from hydrofeminist theory, the piece understands water not as a passive resource but as an ontological condition: a medium through which life circulates, transforms, and persists. In this sense, bodies are not separate or autonomous,
but interconnected systems that carry memory, knowledge, and experience in constant motion.
From this framework, oral tradition and storytelling emerge as practices that mirror the behavior of water. Knowledge is transmitted through bodies rather than preserved in fixed forms, relying on proximity, repetition, and listening. As it circulates, it is inevitably altered, not as a failure of transmission but as its very condition. The circular arrangement of the female figures materializes this process, proposing a narrative without origin or resolution. As the viewer moves around the work, meaning unfolds as a continuous flow, sustained through transformation rather than conservation, and articulated as a collective, embodied form of wisdom, as the stories transmitted from grandmother, to mother, to daughter, and so on. (Text by Paula Santomé)

The Mother of the Mother of the Mother, 2026
by .paulasantome

21.2.-29.3. *ALTEFABRIK
as part of the group exhibition CHRONICLES OF THE UNWRITTEN
MINERVA I/IV

curated by

📷by Studio Oliver Kümmerli Oliver Kümmerli

29/06/2026

In 1991, when images of the Gulf War flooded the international media, it was virtually impossible to distinguish between real pictures and those generated on computer.
This loss of bearings was to change forever our way of deciphering what we see.
The image is no longer used only as testimony, but also as an indispensable link in a process of production and destruction.
This is the central premise of War at a Distance, which continues the deconstruction of claims to visual objectivity HARUN FAROCKI developed in his earlier work.
With the help of archival and original material,
Farocki sets out in effect to define the relationship between military strategy and industrial production and sheds light on how the technology of war finds
applications in everyday life.
(Text by Antje Ehmann)

Huge thanks to Farocki Institute for the loan!

Erkennen und Verfolgen (War at a Distance), 2003

Harun Farocki
on view until 2.8.26 at Kunst(Zeug)Haus
as part of the group exhibition A PHANTOM WITH LIMBS OF STEEL
MINERVA III/IV

curated by

📸 Studio Oliver Kümmerli Oliver Kümmerli

29/06/2026

What can we learn today from the surrealist movement of the 20th century? The ship in this painting does not appear as a symbol of new beginnings or hope, but as a wreck, a structure in decay. The very title OTTO TSCHUMI chose, Debris, points to destruction and loss. Tschumi worked with
the motif of the ship for many years and it became for him an image of longing, disorientation and expression of inner struggles. Debris was created during the Second World War, at a time of political uncertainty and social exhaustion. Many Surrealist
artists at the time saw their work as a counterpoint to the authoritarian and nationalist ideologies of Europe. Instead of order and control, the focus was on openness, ambiguity and the unconscious.

In Debris, personal emotion and contemporary
history merge to create a dense visual world oscillating between threat, melancholy and quiet resistance.

Many thanks to Kunsthaus Glarus for the loan!

Debris, 1943

Otto Tschumi
on view until 2.8.26 at Kunst(Zeug)Haus
as part of the group exhibition A PHANTOM WITH LIMBS OF STEEL
MINERVA III/IV

curated by

📸 Studio Oliver Kümmerli Oliver Kümmerli

26/06/2026

BASEL ABBAS & RUANNE ABOU-RAHME’s Only The Beloved Keeps Our Secrets weaves together a fragmented script sampled from online recordings of everyday ritual and performance (through song and dance) and everyday erasures, alongside other material, ambiguous landscapes, growing plants in an abandoned development. Collected over the last five years, mostly from Palestine, moments from this material appear as moving layers with images building in density on top of each other, obscuring what came before in an accumulation of constant testament and constant erasure. Retrieving, in this unfolding accumulation and dissipation of testament, certain moments that have passed us by as noise, what we can not turn to see and what we can not turn away from. Uncounted bodies counter their own erasures, appearing on a street, on a link, on a feed. Words from their songs are broken up and reformed. Maybe it is here between seeing and not seeing, between appearance and disappearance, that what could be retrieved from the wreck can be glimpsed.

Only the beloved keeps our secrets, 2016

Basel Ruanne 🧿
on view until 2.8.26 at Kunst(Zeug)Haus
as part of the group exhibition A PHANTOM WITH LIMBS OF STEEL
MINERVA III/IV

curated by

📸 Studio Oliver Kümmerli Oliver Kümmerli

Adresse

Klaus-Gebert-Strasse 5
Rapperswil
8640

Öffnungszeiten

Mittwoch	12:00 - 18:00
Samstag	11:00 - 17:00
Sonntag	11:00 - 17:00

Telefon

+41 55 225 74 74

Webseite

http://www.kurator.in/

Benachrichtigungen

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