Rub your shoulders with mine

17.12.2020 – 17.1.2021

© Nicole Bachmann, or what is, 2019, performed by Patricia Langa, Jia-Yu, Legion Seven, Bündner Kunstmuseum Chur

Rub your shoulders with mine
Rub your shoulders with mine by Nicole Bachmann is composed out of two works: one audio piece, ink on skin, as well as 3 drawings, writings (Indian ink). The audio piece ink on skin calls upon a community of bodies and voices to think and feel differently, to stretch and widen social structures and rethink the connections we already have. It investigates our relationship to the voice and bodies in that the bodies of the performers are absent but are invoked through their voices and sounds their moving bodies are making. It puts forward the idea of the body as a place of knowledge production and the voice with its sounds as a tool to create meaning outside of linear narratives. The recordings for the work were taken during rehearsals of the performance or what is.

On 20 December 2020 at 2pm and 4pm, Nicole Bachmann, Delphine Chapuis Schmitz and Robert Steinberger present their editorial work DEARS, a print magazine for transversal writing practices at the crossroads of art, poetry and experimental writing. It brings together authors and writers from different backgrounds and constitutes a dedicated platform for texts escaping the usual genres and disciplinary boundaries. The magazine aims at connecting not only writers from the different linguistic regions of Switzerland but also from other countries in Europe and worldwide.
The first issue thus features texts by Nicole Bachmann, Season Butler, Crystal Z Campbell, Alessandro De Francesco, Benjamin Egger, Gilles Furtwängler, Florinda Fusco, Donna J. Haraway, Serafina Ndlovu, Rose Rand and Riikka Tauriainen.
The second issue will feature texts by Ann Cotten, Louise Guerra Archiv, Kayije Kagame, Tarek Lakhrissi, Leila Peacock, Heather Philipson, Ines Marita Schaerer, Legion Seven, Robert Steinberger and Barbara Sirieix.

About Nicole Bachmann
Nicole Bachmann is an artist based in London and Zurich. She works across video, text, sound and performance. She situates the body as a site of knowledge production used to explore alternative discourses within language and form. By using movement and voice, Bachmann intends on subverting languages power and political relations that she believes is attached to normative vocabulary, opening up spaces or gaps in which to “embody vocabulary” where new meaning and social spaces can be created. In becoming other-too, Bachmann wants to question the structures of social norms through her own and others bodies and voices, providing a refreshing and relevant agency. Her predominantly collaborative practice reflects this subversion, evoking a sense of togetherness and reciprocity, searching for meaning away from the prescribed set of definitions she thinks we exist in. Her works explore our connectedness on multiple levels, the myriad ways we share information and how our bodies communicate with each other, sometimes below our radar.

Please book an appointment to visit the exhibition and/or to attend the DEARS presentation by writing us an email:

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Heavy Satin II


Avec Lisa Biedlingmaier, Roman Gysin, Manon Wertenbroek

Heavy Satin II est une version revisitée et miniature de Heavy Satin, une exposition signée par les curatrices Arianna Gellini et Linda Jensen présentée dans leur espace d’exposition Last Tango à Zurich au printemps 2020, avec des œuvres de Lisa Biedlingmaier, Roman Gysin et Manon Wertenbroek. Heavy Satin II adresse et remet en question les distinctions opérées entre des systèmes tels que décoration vs Beaux-Arts, bon goût vs vulgarité, distance vs proximité, clinique vs l’émotionnel. Artisanat et soin performés par la main sont perceptibles dans les sculptures et les installations de l’exposition, où les surfaces tactiles des pièces sont matérialisées par des textures telles que le satin, la corde, la toile, le métal et le cuir. Heavy Satin II teste des stratégies escapistes à partir desquelles nous avons accès au corps sculptural et ses connexions au fétiche, à la vulnérabilité, au soin, qu’il soit apporté aux autres ou à soi-même, et ceci à travers l’élégance d’objets qui pourrait presque se suffire à elle-même. Le titre tente de conjurer les pensées d’un poids imminent, suggérant avec subtilité l’agression et le machisme du Heavy Metal, tout en évoquant la sensualité voluptueuse et féminine du satin.

Heavy Satin II est présenté à TOPIC, Genève, un espace ouvert par le biais d’une baie vitrée sur la rue. C’est précisément grâce à cette surface transparente que Heavy Satin II peut avoir lieu, pendant un semi-confinement, un état de nécessité où les lieux d’exposition doivent rester fermés, tel que déclaré par les autorités genevoises, des mesures en vigueur du 2 novembre au 29 novembre 2020 pour lutter contre le Covid-19. Ainsi Heavy Satin II est présenté dans ce qui devient une vitrine, à la fois fermée, mais bien visible pour le public depuis l’extérieur. L’exposition et la spécificité de TOPIC explorent une dynamique entre des vues distanciées et proches, le désir de toucher et la capacité d’analyse autoréflexive de l’art, alors que certains des travaux présentés évoquent le décor de conte de fée, des contextes fragiles et des objets porteurs d’énergie.

With Lisa Biedlingmaier, Roman Gysin, Manon Wertenbroek

Heavy Satin II revisits a former exhibition previously held in Spring 2020 at the Last Tango exhibition space in Zurich, curated by Linda Jensen and Arianna Gellini, presenting works by Lisa Biedlingsmaier, Roman Gysin, and Manon Wertenbroek. The artists’ practices challenge categorical divisions created between systems, such as decoration vs. fine arts, good taste vs. vulgarity, distance vs. proximity, and the clinical vs. the emotional. There is a noticeable presence of handiwork, performed with craftsmanship and care, in the sculptures and installations. Their tactile surfaces utilise such textures as satin, leather, canvas, rope, and metal. Heavy Satin II tests escapist strategies through which we access the sculptural body and its connections to fetish, to vulnerability, to the collective, and to self-care, doing so through objects whose sleekness alone could merit display. The title aims to conjure thoughts of an impending weight, subtly suggesting the aggression and machismo of heavy metal while also evoking the voluptuous feminine sensuality of satin.

Heavy Satin II is presented at the TOPIC exhibition space in Geneva and is visible from the street thanks to a glass wall. On view in what has been converted into a window display, the installation is enclosed while also completely visible to the public from the outside. This particularity allows the show to continue to be seen during this period of partial lockdown, during which all exhibition venues must remain closed between the 2nd and 29th of November 2020. This closure is by necessity and ordered by Genevan authorities to combat the second wave of Covid-19. The exhibition and the spatial specificity of TOPIC explore the dynamic between long and close-up views, the desire to touch, and the capacity for self-reflective analysis through art, while some of the artworks presented evoke fairy-tale settings, contexts of fragility, and objects as bearers of energy. 

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Elza Sile – Geneva SET

15.10 – 15.11.2020

Elza Sile holds a Master of Fine Arts from the ZHdK, Zurich (2019, with distinction). From 2014–2015 she resided in Norway, where she took part in in study trips to Tokyo, Kyoto, Teshima, Los Angeles and New York with The Oslo School of Architecture and Design. Taking an interest in psycho-spatial typologies, she is working on an organisational system that she calls SETS. Her current focus is to merge the ideas of the extruded image and the territorial perception of painting, and to develop it on classic, vertical surfaces. At other times she constructs human-scale installations, builds models from painting materials, writes fictional dialogues, which she calls CASES. She also translates her vocabulary onto stickers and tattoos and collaborates on CG renderings. Since 2019 she has worked at {F_x Office} together with Ilona Isabel Stutz. She has been nominated for the Shizuko Yoshikawa Award 2020.

For her installation at TOPIC in Geneva, Elza Sile finds inspiration in the landscape of the surrounding urban area and the building where TOPIC is housed, including both its volumes and materials: from the concrete to the transparent, from white walls to a ceiling made out of wood slats and a window made entirely of glass opening onto the street. Elza Sile uses her favourite material to realise a site-specific installation: industrially produced aluminium plates, SAGEX filler material for packaging, coloured paint out-of-the-tube, 3D-printed visualisations, etc. Elza Sile will realise a unique specific installation for the first exhibition project in the programme “Hyperlocal: new territories” 2020/21. The work is an initial territorial imprint, poetically formalised through the language of art.

Elza Sile was born in 1989 in Riga, Latvia. She lives and works in Zurich.

With the support of fplce, Loterie Romande and Pro Helvetia


The day before Elza Sile’s opening at TOPIC, the UCHIGAWA (Inside) exhibition from the OPO/DPD (Œil pour Œil / Dent pour Dent) collective will open at 105, Boulevard La Cluse, Home of TMF, The Montesinos Foundation aka The Total Madness Fortress, on Wednesday 14 October. There Elza Sile will exhibit a model, displayed in a glass box inhabited by cockroaches.

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