07 October / 17 December

Philippe Lardy - Life Forms

Philippe Lardy is a Swiss artist who has returned to his home country after a career as an illustrator in the United States and France. He will be exhibiting his works in Espace Muraille’s gallery from 7 October to 17 December 2016. Life Forms seeks to reconnect with the creativity of childhood – a world of play incorporating chance, accident and free interpretation. More than thirty works, mostly recent paintings, have been created using a variety of media, shapes and colours. Visitors will be transported to the heart of a universe of symbolism in perpetual evolution.


Vernissage le jeudi 6 octobre dès 18H00

Exposition du 7 octobre au  17 décembre

Du mardi au vendredi de 10H00 à 12H00 puis de 13H00 à 18H00
Le samedi de 13H00 à 18H00 ou sur rendez-vozs


> Pictures gallery

> Invitation


11 May / 17 September

Shirazeh Houshiari - Les grains tourbillonnent et les ondulations se déplacent

<< To see a World in a Grain of Sand
And a Heaven in a Wild Flower
Hold Infinity in the palm of your hand
And Eternity in an hour >>

(excerpt of Auguries of Innocence / William Blake)

<< Pour moi, observer la nature est la meilleure source d’inspiration et d’enseignement. Elle est à la fois évasive et précise, chaotique et ordonnée. Afin de révéler le monde dans un champs, une pulsion ou une vague, il semble qu’aucune masse ou que rien ne soit fixe. Mais, en définitive, c’est cette attraction et cette gravité qui relient tout. >>

Shirazeh Houshiary


Vernissage: November 16th from 6 pm

Exhibition: May 11th to September 17th 2016

Closed from May 27th to Monday June 6th and from July 11th and August 15th

From Tuesday to Friday 10:00 am till 12:00 and from 01:00 pm to 6:00

Saturday from 1:00 pm ill 6:00 pm or by appointment

 > Pictures gallery



08 April / 20 April

Arotin & Serghei - Light Impulse




intermedial paintings & installations


Arotin & Serghei créent un univers de couleurs en superposition, en mouvement, en fusion et en éclat. Dans leurs oeuvres, le duo combine des techniques de dessin, de composition et de montage, en utilisant des médias et matériaux innovants et en intégrant des éléments de sons, d’architecture ainsi que des concepts scientifiques et philosophiques.

En avant-première à Genève et en coopération avec museum in progress, l’exposition présente des tableaux et installations faisant partie du projet “In nite Screen”, oeuvre d’art total, work-in-progress, initiée au Konzerthaus Wien en 2013, puis développée au Festival Ars Electronica 2014 et à la Biennale di Venezia 2015. La démarche se poursuivra au Kunsthistorisches Museum à Vienne en septembre 2016.

Curator: Kaspar Mühlemann-Hartl, Museum in progress Wien

With support of Museum in prograss and Bildrecht

Vernissage: April 7th 6PM

Exhibition: April 8th to 20th 2016

From Tuesday to Friday 10:00 am till 12:00 and from 01:00 pm to 6:00

Saturday from 1:00 pm ill 6:00 pm or by appointment
Artists talk April 14th and April 20th 6pm by appointment

27 January / 27 February

Sheila Hicks - Farandoulo

Sheila Hicks - Farandoulo



27.01-27.02 2017

Tue - Sat / 01-06 PM

In collaboration with Espace Muraille and Frank Elbaz gallery, Paris


> invitation card

> Sheila Hicks pictures gallery


17 November / 13 February

Tomás Saraceno - Aerocene

Solo show of artist Tomás Saraceno

Vernissage: November 16th from 6 pm

Exhibition: November 17th to December 23rd 2015 and January 4th to February 16th 2016

> From Tuesday to Friday 10:00 am till 12:00 and from 01:00 pm to 6:00

> Saturday from 1:00 pm ill 6:00 pm or by appointment

> invitation card

> Tomás Saraceno pictures gallery


04 September / 17 October

Merete Larsen

Merete Larsen - recent works

> From Tuesday to Friday 10:00 am till 12:00 and from 01:00 pm to 6:00

> Saturday from 1:00 pm ill 6:00 pm or by appointment

04 June / 17 October

Collection particulière / Saison 1 / MATERIAL AND FEELING






From 5th June till 4th July and from 4th August till 17th October 2015

Vernissage: Thursday 4th June from 6:00 pm

> From Tuesday to Friday 10:00 am till 12:00 and from 01:00 pm to 6:00

> Saturday from 1:00 pm ill 6:00 pm or by appointment

> Invitation

28 January / 02 May


The question of the place, the Topos, and notably the place of colour, is raised in painting, philosophy and poetry. The place of colour is defined both in its presence, the painting, and in its absence, U-topia, which braids the no place, the in-itself (l’en-soi – the world of things, objectivity) of colour and its imagined place.  Blue is the colour of utopia, a purely abstract colour. The blue of the sky is a dream; it passes, from dawn to dusk, from lightness to darkness. For Monique Frydman, quite apart from blue, painting in itself is a utopia. A space for dreams, freedom that defeats contingencies. But what utopia are you talking about? What type is it that motivates the painter?

Monique Frydman has thus thought out and specially designed the U-topia of colour exhibition for Espace Muraille. The series of paintings and installations that she presents there incites us to meditate on this.

Curated by Laurence Dreyfus

With kind support of the Alice Pauli gallery

> Biography

> Invitation

> Article in collection magazine (en)

03 October / 29 November

Pierre Skira - Yohei Nishimura

Article published in the newspaper Le Temps


Pierre Skira

Born in 1938, he lives and works in Paris.

A pastellist, he will present his most recent works.

Pierre Skira exhibits at De Bayser in Paris and Arturo Ramon in Barcelona, after Jan Krugier in Geneva and Caroline Freymond in Paris. He has taken part in numerous exhibitions with, in particular, Jean le Gac, Titus Carmel and François Barbâtre. He has published works in collaboration with Jean-François Lyotard, Gérard Macé and Pascal Quignard. His collaboration with the latter was the subject of an exhibition at the Soissons Museum.

His works are in public and private collections in France and around the world.


> Invitation

Gallery of Exhibition Images: Pierre Skira



Yohei Nishimura (西村 陽平)

Born in 1947, he lives and works in Chiba and Tokyo.

He will present an installation of his “fired books” along with his very latest work, also on the theme of books, form and memory.

Cooked at 1200 degrees, miraculously “fossilized” by the magic of the electric kiln acting like a time accelerator, Yohei Nishimura’s fired books are moving far beyond their fragile beauty. Whilst the link with the autodafé appears obvious, what really takes places is a conservation or even a revelation, not a destruction. Admittedly the ink gradually disappears during the ten long hours of firing, but it is a work of collective memory to which the artist invites us with, as the starting point, the first page intact suspended above each work.

Founded in 1948 by Yagi Kazuo, the Sōdeisha movement contributed to the development of the ceramic-object concept (obuje-yaki) in opposition to utility pottery (yakimono). Through this ambiguous term, the avant-garde sought to break with sculpture in order to maintain this tension in the field of ceramic. But the irony is that it has thus contributed to the very western dichotomy between ceramic and art (modern, then contemporary). Whilst Yagi Kazuo launched the movement with his kokuto black ceramics fired at a low temperature, Ryoji Koie was even more radical, sometimes using industrial wood reduced into powder to mould his  face, sometimes reducing the concept of ceramic to its simplest expression:  “to burn things”, the literal translation of the word yakimono, going as far as simply making a mark with a cutting torch on the ground.

Very often categorised as a ceramist, Yohei Nishimura began by studying sculpture and this is undoubtedly a key element in his freedom. When he creates a kokuto piece in ceramic, in this particular case a recipient, it is an object in which to keep magazines that have been fired in the kiln.  When he “burns things”, for instance books or fruit, it is to better conserve them. Transcending the constraints confronting the Sōdeisha members, his work often takes the form of an installation, sometimes involving very different materials and techniques, such as iron, wood, lead or everyday objects. For his most recent work, on a series of books to be thrown out, he has only kept the covers. Painted in a way that only leaves visible the red cross showing that they were intended for the bin, they are carefully framed and covered with a protective layer of bees’ wax.

In the era of the cloud, ebooks and other digital tablets, this pioneer in specialised teaching for the visually impaired replaces substance and imagination with virtual and thus calls on our common, universal memory

Curated by Nicolas Christol


His works can be found in numerous collections including those of the Museum of Modern Art and the Museum of Contemporary Art of Tokyo, the National Ceramic Museum in Sèvres, the Museum of Decorative Arts in Paris, the Ariana Museum in Geneva and the Victoria and Albert Museum in London. A pioneer in specialized teaching for the blind in Japan, he taught for 23 years at a school for the visually impaired in Chiba and directed the Nishimura Research Centerat Japan’s Women’s University in Tokyo-


> Invitation

Gallery of Exhibition Images: Yohei Nishimura

02 May / 12 July

François Morellet and Tadashi Kawamata

Gallery of Exhibition Images: Tadashi Kawamata

Gallery of Exhibition Images: François Morellet

Article published in the newspaper: Le Temps


Caroline and Eric Freymond gave the Paris gallery owner Kamel Mennour a free rein for organizing exhibitions in Espace Muraille, a new exhibition place dedicated to contemporary art located in the foundations of family building at the heart of Geneva’s old town. From May to July 2014, you can discover works there by two artists with whom Kamel has worked for several years: François Morellet and Tadashi Kawamata, each occupying a floor in the exhibition space.

From Morellet, Mennour has mainly selected square canvases, some with neon lights. Whilst initially right angles appear to dominate, the squares are in fact broken within themselves by a both mathematical and voluble curves due to the effects of instability that the artist develops by moving, splitting and shifting his frames and supports.  This facetious squaring of the circle is notably at work in the Cruibes series where a sort of tight chain lets you envisage the work like the fragment of a larger design.  But the painting may become tondo and then we are faced with an inversion of values, the square sliding inside and exploding in sharp immaculate triangles which are like the facets of a diamond.

For Kawamata, the choice fell on a series of models and paintings on panels of plywood  Some works directly evoke the huts designed for the 2013 FIAC (International Fair of Contemporary Art) in Paris for the Place Vendôme column and buildings. There we have grafts like swallows nests discreetly clinging under the structures as if nature were reclaiming its rights in the urban environment. Others recall an installation in Chaumont-sur-Loire, in the form of a bucolic walk by the river as if on the planks of Normandy and British coastal towns. Finally, a few Tree Huts are emblematic of the work of the Japanese artist who creates fragile ephemeral architectures in salvaged wood, a cross between make-shift homes and huts for children.

It is precisely this child-like dimension that brings these two artists together, each in his own way giving us his Far Eastern poetry of the transitory. It is, in fact, not the first time that their works have been exhibited together, since, as a trial, for the exhibition of François Morellet at the gallery Kamel Mennour in Paris, Tadashi Kawamata created in spring a wooden walkway, a sort of floating boom  that allows you to float above an installation of neon lights created by the elder. Thus exhibition in Geneva thus marks a new stage in the pursuit of this fruitful dialogue.