Correspondances is a new performance by Mira Mann, inspired by Choi Seung Hee (1911–1969), a pioneer of modern dance in North Korea and regarded as the first Korean dancer to pursue an international career. Mira Mann revisits the way Choi’s work was woven through borrowings from inter-Asian folk traditions, highlighting a search for anchors within the continent, at the heart of an Asia reshaped by imperial powers. In this reading, Mira also reveals folklore as a possible refuge for queer expression and gender bending.

If Correspondances reclaims Asia and folklore as method, the performance also exposes their double edge: for Choi Seung Hee, this approach was an instrument of adaptation, a way of slipping through the meshes of an exoticizing industry by replaying—and perhaps sometimes, undoing—colonial projections.

Conceived as a three-voiced dialogue with performer Paula Pau and drummer Domi Chansorn, Correspondances draws on a choreography by Choi rooted in the traditional Korean martial dance of knife and fan. This element—the fan—unfolds in the piece beyond choreographic citation, through a presentation of revolutionary 18th-century fans from the collection of the Musée d’Art et d’Histoire. Transformed into portable panoramas, these fans appear here as both support of political expression and instruments of concealment and revelation—in other words, as stagings of the self.

Florence Jung infiltrates First Impressions with three scenarios unfolding over the course of the year, within and beyond the museum.

Inside the museum, for twelve months, psychostimulants and painkillers are made available to the public. Outside, from summer 2025 to summer 2026, rain falls endlessly in front of the window of a former private bank in Basel. Neither fully inside nor fully outside, an element appears once a month on a Thursday, without being named.

As the artist says, everything is real.

The relations between image, war, and mourning guide this collective reading by artists Fabian Saul, Thuy-Han Nguyen-Chi and Andrew Yong Hoon Lee, accompanied by curator Jade Meili Barget. Based on a system of poetic inquiry developed together in 2022, the project unfolds as a landscape of text, sound, and moving image; an exploratory terrain through which the relations are examined and unsettled.

This event is part of a three-part cycle also taking place at the Harvard Film Archive and the Migros Museum für Gegenwartskunst, in partnership with Zürich liest 2025.

Poser is a band that doesn’t exist. Recreated anew for each performance, it is artist Reece Cox’s ongoing project exploring performativity, authenticity, and image-making within today’s cultural economy. Conceived as an image, each performance is designed as much for the audience’s phone cameras and the audiences beyond them, as for those physically present in the museum.

In this iteration, Cox draws on the trope of country music and its lost histories, flattened or erased as the genre moved through media, the recording industry’s commercial imperatives, consumerism, and political agendas.