BANG BANG is taking place in three venues: the Aktionshalle with video installations, drawings, seating and stage elements; an Exhibition Space for three temporary exhibitions in succession; and the Panorama Room, which with its viewing stations on screens and in showcases, its mind maps, project presentations and publications, presents the current state of performance art research. These sources are presented as the interim results of a wide-ranging research project entailing mapping and interviews.

Three performative positions and their networks will be on display in the exhibition space. Here, artists are invited to conceive an exhibition retrospectively to their own work and in relation to the environment, always also in confrontation with the format of the performance exhibition itself. What they all have in common is how they question the stability of the work presentation in their use of space and objects.

8 – 26 July 2022

Porte Rouge  
Joa Iselin, Christoph Ranzenhofer


Porte Rouge, Kosmos

Kosmos by Porte Rouge shows a small excerpt from their stock of raw materials: photos, images, costumes, terrain cloths, boxes, and props. Latent in all these objects is the process, the score, and the plot or action that brings each performance to life.

Karabuki describes a bewildering game between documents of past performances and fictitious theatre plays, between the live event and the photos of meticulously produced model worlds. On the occasion of the opening, a possible origin of the images will be revealed.

Performative Drawing is the long standing practice of both artists: they sit next to each other and put on paper what is happening in their fields of vision. These so-called paired drawings translate the process how an idea or notion is turned into image. They put into concrete form the individually different views via shifting, variations and similarities, a leap of scale or media, doubling and mirroring, unison or parallel worlds. These are all terms that are populating this Kosmos, indicating orders and formulating belonging.

In Company
Collaborating Waters
2 – 31 July 2022

Sarina Scheidegger

IMG_2402 (1)

Sarina Scheidegger, Collaborating Waters

The second of the three temporary presentations in the exhibition hall presents Sarina Scheidegger. The artist was invited to arrange an exhibition retro-spective on her own work and in relation to her artistic network. The focus lies on the connection between different formats such as exhibition and performance.

In Company shows an overview of Sarina Scheidegger‘s work with texts and their publication in a wide variety of formats as the origin of her performative practice. In performances, the texts can be experienced and heard as a spatial constellation. With publications and editions, posters, printed sweaters and stickers, the texts repeatedly find new carriers to be present in public space and to have their say. The result is an intensive reflection on the relationship between printed matter and performance, between the performativity of language and writing.
with Jimena Croceri, Ariane Koch, Kambiz Shafei, Alexandra Stähli, Anina Ung, Stingray Editions

Collaborating Waters continues the artist‘s exploration of the ideas of hydrofeminism as postulated 2017 by Astrida Neimanis in her book «Bodies of Water: Posthuman Feminist Phenomenology». The eponymous publication Collaborating Waters brought together texts by the artist in 2021 and, along with musical compositions by artist friends, it formed the source material for a first chorical performance. In the Museum Tinguely, these compositions will now be improvised upon. For the first time, a situation will be laid out in the room with a handwoven carpet, dresses and ceramics, which can be activated mentally by the museum visitors and actually – on Saturdays from 3 to 5 pm – by the performers.

Performers: Marie Jeger, Maira Nett, Mira Studer, Marzella Ruegge
Compositions: Franziska Baumgartner, Ulysses, Nicole L'Huillier, Tina Omayemi Reden, Melissa Vargas Franco
Dress: Kathrin Siegrist and Iva Wili
Carpet: Sarina Scheidegger with Loom - space for fabric and textile exploration
Texts & Concept: Sarina Scheidegger
Typography: Kambiz Shafei 
Publication: Stingray Editions

Living (in) the Archives of Radical Feminism
6 – 21 August 2022

Angela Marzullo alias Makita
curated by Sarah Zürcher


Angela Marzullo alias Makita

Angela Marzullo works with sound recordings from the period of self-consciousness practice developed in the 1970s through documents entitled «Trying to Make the Personal Political: Feminism and Consciousness-Raising». To this end, she began to reinterpret the tapes from the archive of «Rivolta Femminile» (1971-1972). It was important to her to re-transcribe all the words and voices so as not to lose any. Therefore, she engaged feminist «sisters» for recording and transcription sessions. The staging of the installation Living (in) the Archives of Radical Feminism stays true to the original action and creates a connection between the works, their forms and this reactivation work. This creates a horizontality that is particular to feminist discussion.

Installation view video ensembles in the exhibition BANG BANG © 2022 Museum Tinguely, Basel; photo: Matthias Willi

Installation view video ensembles in the exhibition BANG BANG © 2022 Museum Tinguely, Basel; photo: Matthias Willi

Installation view video ensembles in the exhibition BANG BANG © 2022 Museum Tinguely, Basel; photo: Matthias Willi

Installation view video ensembles in the exhibition BANG BANG © 2022 Museum Tinguely, Basel; photo: Matthias Willi

Installation view panorama in the exhibition BANG BANG © 2022 Museum Tinguely, Basel; photo: Gina Folly

Installation view panorama in the exhibition BANG BANG © 2022 Museum Tinguely, Basel; photo: Gina Folly

Installation view Porte Rouge with Travel Stones (front) in the exhibition BANG BANG © 2022 Museum Tinguely, Basel; photo: Matthias Willi

Installation view Porte Rouge with Travel Stones (front) in the exhibition BANG BANG © 2022 Museum Tinguely, Basel; photo: Matthias Willi

Installation view Porte Rouge with Photo Album (staged photography, various sizes), 1982-2009 in the exhibition BANG BANG © 2022 Museum Tinguely, Basel; photo: Markus Goessi

Installation view Porte Rouge with Photo Album (staged photography, various sizes), 1982-2009 in the exhibition BANG BANG © 2022 Museum Tinguely, Basel; photo: Markus Goessi

Installation view In Company / Collaborating Waters in the exhibition BANG BANG © 2022 Museum Tinguely, Basel; photo: Janine Moroni

Installation view In Company / Collaborating Waters in the exhibition BANG BANG © 2022 Museum Tinguely, Basel; photo: Janine Moroni


The Aktionshalle movable furnishings and stage elements enable a range of settings and tell of the live events taking place there in the course of the exhibition. Originally conceived as stage sets for the Theater Basel, these tree-trunk-like elements have migrated to Museum Tinguely, where they provide seating for visitors in the exhibition gallery.

In addition, three curated video ensembles of nine screens each present the work of different generations of performers. On view are combinations of videos, interviews, and performance documentation unearthed by various collectors. The central projection screen is intended for curated video programmes and lectures only. The high walls feature theme clouds containing graphic elements on each of the exhibition’s seven themes.

Team video ensembles: Muda Mathis, Sus Zwick, Iris Ganz mit Lea Rüegg, Ursula Scherrer, Barbara Naegelin, Carlota Ribi
Theme clouds: Lena Eriksson, Martina Gmür, Jim Osthaarchic, Chris Regn
Stage elements: Produktion Alte Tiere hochgestapelt Theater Basel


The Panorama Room points to tables and screens and to the mind maps, projects, initiatives, publications, and research presented in the showcases, as well as providing information on current performance discourse. Viewing Stations and curated screens allow archived materials to be perused, and a Studio is also provided for photo shoots, recorded interviews, audio-visual materials and video screenings. The Library, Study, and Studio are intended to facilitate research, study, and reflection in close proximity to the performances themselves.

Viewing Stations
November 2021 saw the launch of a digital platform for the collection and publication of performance art records and material. The platform is accessed via the media library. All those involved are called upon to upload their materials, concepts, photos, and videos directly, and so to make them available to all. This material, which can be viewed and searched in its entirety here in the Panorama Room, forms the basis of the whole exhibition and of the screen ensembles. Projections and curated screens allow the material to be accessed thematically as well.
>> Access to the online collection

Poster Presentation
The posters present the work of researchers, archives, initiatives, institutions, and projects in a highly condensed form. Some groups will provide still more inputs as the exhibition progresses.
Posters | Networking Performance Art Histories; What is Performance? Conservation, Materiality, Knowledge (HKB Bern); Flüchtiges Sammeln (HSLU Luzern); Interviews. Oral History in Contemporary Art; SAPA, 3 Research and archiving projects: Hasena (Peter Trachsel), F+F, Serge Stauffer; Archives Ecart; OVRA Archives; PANCH – Performance Art Netzwerk CH; PANCH AG Performative Archive; Kunstkredit BS; The Art of Intervention (Universität Basel, Zentrum Gender Studies)

The Study
The Study is an invitation to conduct research in the library and in the whole Panorama Room. The aim is to enable inspired text production of all kinds.

The Studio
The Studio is a video and audio space. It also houses works that require an unusual situation or special sound effects. The Studio can also be used for photo-portrait series and live interviews with performers.

Portrait series | Eliane Rutishauser, Ancestral portrait gallery; on registration until 12 noon the day before by mail: assistant@elianerutishauser.notexisting@nodomain.comcom
Interviews | Chris Regn, Dorothea Rust


Performance stories are sustained by self-organising networks and contexts. The BANG BANG project team researched these scenes in the run-up to the exhibition and recorded them with the aim of ensuring their long-term accessibility online.

At meetings convened together with local hosts in Bern, St. Gallen, Geneva, Lausanne, Fribourg, Lucerne, and Zurich the protagonists of several different performance art scenes and generations of performers shared reminiscences. The various movements and their activities from the early days of the medium to the present were then charted in all their breadth and diversity in the form of regional maps. Around 30 protagonists were then interviewed either individually or in groups and these conversations recorded on video. The BANG BANG online portal at the HGK FHNW media library was launched at around the same time. Artists and impresarios were then called upon to upload performance documents selected according to their own criteria and to make these publicly available for envisioning, exhibiting, and archiving purposes.
What makes this community project so special is its fundamentally democratic approach: everyone can claim a place in the history being written, everyone can provide what they regard as historically relevant reference materials and visuals. Not only does this reveal heterogeneous ways of seeing, but even the data themselves are heterogeneous. They range from single contributions to entries that illustrate whole festivals with multiple performances. Some 1500 entries with over 14,000 single items have been submitted to date. These cover a historical period from the precursors of performance in the years 1901 to 1964 all the way up to the 1990s and the present. The plan is to collaborate with our partners, info-age GmbH and the HKG FHNW media library to keep the database public, which means that metadata will be made accessible to the community via the HGK FHNW media library – and probably Wikidata, too.

>> Online portal

Atelier (work in Progress)

The BANG BANG exhibition was conceived as one leg of a much longer study trip. ATELIER (WORK IN PROGRESS) turns the spotlight on the processes and activities connected with the exhibition and the performances: the inspiration, research, formulation, production, reception, and archiving – to name just a few.

As performance art is often shown only on the institutional fringes or in certain situations, its accessibility, diversity, and urgency are not always adequately conveyed or appreciated. On the contrary, performance art is still regarded as cumbersome, incomprehensible, or as an obscure art form for insiders only. Yet its potential for involving a curious audience in a lively, interactive experience is almost inexhaustible. Contrary to what many people think, performance art is exceptionally direct and engaging, and since it often consists of clear, unambiguous actions, tends to be surprisingly easy to grasp. The dividing line between professional actors and their audiences is never sharply drawn and there are countless possibilities for involving spectators within this border zone.
Echo & Verstärkung supplements Museum Tinguely’s existing education and outreach activities by giving centre stage to the direct participation of all those present. The aim is to enter into a creative give and take in a wide range of media based on the performative events held under BANG BANG’s auspices. Echo & Verstärkung apprehends participants as authors, whose engagement culminates in products and works, which in their turn may influence the discourse.

The formats are as follows: 

  • The Lobby (low key, in the park)
  • Writing, drawing, formulation, and ceramic formations
  •  (advanced booking required by 12 pm on the previous day: cr@existenzundprodukt.notexisting@nodomain.comch)
  • The Mundraub Method (souvenirs for all)
  • Interviews with performance artists
  • Megazin 1-7 (a fast-tracked magazine)
  • Wiki – online presence (writing workshop on 7 August 2022)
  • Webzine (project blog:

The Ancestral Gallery is a series of portraits by Eliane Rutishauser with Swiss performance artists. The aim is to render visible the diversity of today’s performance art scenes. Eliane Rutishauser has been photographing performance art for many years from many different angles and on many different occasions, whether as an artist who does performance herself, as a photographer who records performance events, or as an image-maker seeking material for her own projects. In her Ancestral Gallery she focuses on shedding light on the different performance scenes and the pose that alternates between representation and self-revelation.
Advanced booking required: assistant@elianerutishauser.notexisting@nodomain.comcom

Radio Lumpen Station reports live from Museum Tinguely after each of the live events on BANG BANG’s seven themes. Each live report gives a different group a chance to offer feedback, to share their impressions of the BANG BANG performances, and to put forward arguments and views of what the future holds. TALKING GAZES aims to disseminate perspectives and ways of seeing and to promote the reception of performance art as an art form that relates wholly to the instant of its happening. At the end of the exhibition, this series of radio programmes will provide an overview of the most important themes explored during BANG BANG.
Team Lumpen Station: Andrea Marioni, Mathilde Beetschen, Ivan Chrichton, Luke Archer
Possible groups of people as observers: e.g. scientists, art students, artists who are not performers, curators, visitors...

The BANG BANG research and exhibition project at Museum Tinguely in the summer of 2022 will be followed by a print and online publication that is scheduled to appear in 2024/2025. The events in the exhibition will be carefully followed up and documented much like an ‘open studio’ event. Photographs, videos, drawings, texts, and products made by the artists and protagonists themselves will have a lasting impact on our memories and discourse. Enriched with the collective energy and experience of the exhibition, the translocal performance stories clearly have the potential for many new chapters to come.