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Kunsthalle Palazzo

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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

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.
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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

02/02/2026

Only this week!
Until 8 February, visit the exhibition “8ung” as part of Regionale

Featuring works by Olena Babchenko .babchenko

We see three colour photographs on the wall. What all of the works share is the depiction of flowers – a motif that has appeared throughout art history across all eras. The fascination with flowers is enduring, perhaps because their splendour is transient and usually lasts only a few days. The ephemerality of flowers has often been compared to the ephemerality of human life, as reflected in still lifes of blooms already beginning to fade. Olena Babchenko’s flowers appear in full bloom, yet their stems are already slightly drooping. Striking, too, is the unusual blurriness for a photographic image. In contrast stands the intense, almost toxic colour palette, which evokes notions of artificiality and manipulation. The images are composed of shimmering fields of colour that recall painted surfaces. Olena Babchenko experiments with the possibilities of photography in order to lend the flowers a painterly quality. The fine, spreading dots that appear in all three works call to mind a story from Greek mythology, in which Zeus, father of the gods, approached the imprisoned princess Danaë in the form of a shower of gold. From this union the hero Perseus was born, whose name was later given to the annual meteor shower, the Perseids.

Fleeting Floral Reflections I, II, III
Inkjet prints on Hahnemühle paper
Edition 1/3 + 2 AP
each 60 × 40 cm

Photos:
Curated by and

30/01/2026

A powerful, site-specific installation by Isatou Jallow — on view until 8 February 2026.
Discover the work in the exhibition «8ung» as part of .

Isatou Jallow’s work is realised on a piece of indigo-dyed fabric. The dyeing process was carried out by Musa Jaiteh, one of the last remaining traditional dyers in The Gambia. On the floor rests a slightly curved silver metal plate bearing a printed image of the artist’s face. The work forms part of a series in which Isatou Jallow photographed herself crying in moments of helplessness, articulating a sense of powerlessness in the face of Weltschmerz.
This expression of grief stands in contrast to the ‘castle in the air’ suspended above, which conveys a feeling of protection and refuge. A variety of motifs appear on the textile, tent-like roof. Crocodiles—symbols of fertility in Gambian culture—are depicted alongside a turret chamber that shelters a burning heart. Knightly emblems also emerge, including a sword associated with strength and a unicorn evoking virginity.
By weaving together motifs of vulnerability and resilience, the artist transforms the ‘in-between’ into a site of empowerment. Softness becomes a form of resistance, and duality a mode of freedom. Jallow seeks a visual language that encompasses both memory and becoming, creating a space for those who have been marginalised and who continue to grow nonetheless.

Photos: and
Curated by and .

27/01/2026

Only two weeks left at the Kunsthalle Palazzo
The exhibition “8ung” as part of

Don't miss! A remarkable installation, Silent Spring, by the artist .

Silent Spring, 2025
Books, glass plate, shelf, paperwork, wall painting
Dimension variable

On a shelf lie several old encyclopaedia volumes from the early 1930s: one volume of the Ural Soviet Encyclopaedia and volumes of the Siberian Soviet Encyclopaedia. The books come from the collection of Aleksey Shchigalev’s father. While reading, Shchigalev came across an entry that he could not shake off. Under the heading ‘Pests of Agriculture’, beetles, moths and other insects are first described. Directly below, under ‘Pest Control’, political opponents appear. Using quotations from Stalin, the text lists purported ‘hostile elements’ and ‘saboteurs’. The proximity of biological and political ‘pests’ is unsettling, yet not accidental: in Russian, the words for agricultural pests, вредители (vrediteli), and for political ‘saboteurs’, вредители / вредительство (vrediteli, vreditelstvo), share the same linguistic root. This reading forms the starting point of his work. Drawing on the insect illustrations, Shchigalev develops a wall painting. The insects appear in symmetrical rows in red, black, brown and orange. As we move closer to the images, faces emerge in their wings: fragments of portraits taken from the encyclopaedias. Many of the depicted individuals were, at the time, part of the system; shortly afterwards, however, they were arrested, murdered or erased from the books. The encyclopaedias themselves were later withdrawn and revised. The installation bears the title ‘Silent Spring’, referencing Rachel Carson’s 1962 book that exposed the harmful effects of pesticides. Shchigalev transfers Carson’s warning to history: poisoning can be laid not only over landscapes, but also over people, memories and concepts.

Photos by and .
Curated by and

20/01/2026

Don’t miss Marc Lohri’s installation during Regionale 26 – exhibition "8ung".

Upon entering the Kunsthalle Palazzo, we are met by a mirror – though it does not reveal a complete image. Between its sharp contours, shadows and blind spots emerge at eye level. Our gaze begins to roam: towards ourselves, towards the surrounding works in the room, towards the other visitors. What captures our attention – the distinct lines, the darker areas, or the empty spaces in which something is only just beginning to appear? In front of the mirror stand a table and a chair, coated with a thin layer of wax. The material resembles frozen breath settled on the surface. The wax both veils and protects. The installation "Sink Water Stains" explores the ways in which we perceive things. It reveals that our gaze is never complete: some things we see clearly, others only in a blur, and much remains entirely beyond us. The mirror and the waxed surfaces call to mind the mutability of perception.

Sink Water Stains, 2025
Mirror, wax, table, chair
Dimensions variable

Photos: Sarah Maurer
Curated by: and

13/01/2026

Didde Bo – Dream Screen (2025)
in the exhibition «8ung» during Regionale 26

The smallest room in the exhibition is bathed in blue-red light. On the floor lies a black latex cushion on which a bed rests, its dark, glossy legs rising at the corners like flames licking upwards. On the mattress sits a carefully padded nest containing a single egg. Fine cracks run across its shell – as though something were on the verge of breaking into the world. Beneath the bed, two orange, organically shaped lamps glow, their silhouette reminiscent of ovaries. The light appears warm and pulsating, almost breathing. Didde Bo refers to the work as a ‘Dream Screen’. The term points to an inner surface of projection on which memories and dreams appear. The installation draws attention to behavioural patterns that shape our lives, especially those rooted in childhood. It examines how such ingrained processes form. The recognition of the ‘haunting gaze’ – a look originating in the past that pursues us into the present – becomes the first step towards reclaiming self-determination.

Dream Screen, 2025
Kinetic installation
3D-printed digital sculpture, electronics, latex cushion
Dimension variable

Photos:

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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