The Possible is Monstrous.

Works in the Public Sphere

17.9. —
20.9.2020

Yael Bartana1
Yael Bartana, We shall be strong in our weakness, 2012. Neonschrift, 50 x 190 cm. Courtesy Sommer Contemporary Art, Tel Aviv / Zurich
Latifa Echakhch2
Latifa Echakhch, The Fall, 2020, Grundierte Theaterleinwand, Farbe, Stahlrohr und Bänder, je 1 x 1 m, Courtesy: Latifah Echakhch, kamel mennour, Paris / London; kaufmann repetto, Mailand / New York; Metro Pictures, New York; Dvir Gallery, Tel Aviv / Brussels
Latifa Echakhch
Latifa Echakhch, The Fall, 2020, Grundierte Theaterleinwand, Farbe, Stahlrohr und Bänder, je 1 x 1 m, Courtesy: Latifah Echakhch, kamel mennour, Paris / London; kaufmann repetto, Mailand / New York; Metro Pictures, New York; Dvir Gallery, Tel Aviv / Brussels
Teresa-Margolles
Teresa Margolles, Mesa y dos bancos, 2013 (Hergestellt aus einer Mischung aus Zement und vom Boden aufgehobenem Material, auf dem der Körper einer an der nordmexikanischen Grenze ermordeten Person lag. Tisch: 85.0 x 80.0 x 200.0 cm; Bänke: je 50 x 45 x 140 cm) Sammlung Migros Museum für Gegenwartskunst
Augustas Serapinas
Augustas Serapinas, Standtune for the square, 2020. Holz, 450,5 x 1300 x 400 cm. Courtesy Augustas Serapinas und Emalin, London. Foto: Damaris Thalmann
Eric Baudelaire
Eric Baudelaire, Where are you going? 2018 und fortlaufend. Korrespondenz, 53 Briefe (Stand Juli 2020), Poster, Format F4, 8.95 x 12.80 cm. Courtesy Eric Baudelaire und Galerie Barbara Wien, Berlin.
Judith Kakon
Judith Kakon Commons (1/4-4/4), 2019 Bronze 60 × 80 cm Foto: Damaris Thalmann
Mariana Deball
Mariana Castillo Deball, You have time to show yourself before other eyes, 2014. Installationsansicht: Hieroglyph Storage, 2014; Jaguar Storage, 2014; Papantla Storage, 2014. Metallische Strukturen, Gips. Courtesy die Künstlerin und Kurimanzutto, Mexiko. Foto: Damaris Thalmann
Yael Bartana2
Yael Bartana, The Undertaker, 2019, one channel video and sound installation, 13 minutes, courtesy of Sommer Contemporary Art, Tel Aviv; Annet Gelink Gallery, Amsterdam, and Petzel Gallery, New York
Krzysztof Wodiczko
Krzysztof Wodiczko, Sans-Papiers/Kunstmuseum Basel Projection, 2006. 1-channel-video; A: video, sound; 4 hours.; B: Video, DVD, sound; camera: Fabrizio Fracassi. Courtesy Kunstmuseum Basel. Foto: Damaris Thalmann
Marinella Senatore
Marinella Senatore, Protest Forms: Memory and Celebration, 2020, Kunstmuseum Basel Fries
4 U Qs Gbw
Bottari 1999-2019, 2019. (Schiffscontainer, persönliche Gegenstände der Künstlerin, 2,59 x 6,06 x 2,44 m, 2,857 kg.) Courtesy Kimsooja und KEWENIG, Berlin, Palma, Foto: Damaris Thalmann


Kunsttage Basel is a joint event for contemporary and modern art. Various museums, art institutions, galleries, and off-spaces in and around Basel have put together a special arts program: www.kunsttagebasel.ch.


As part of Kunsttage Basel, the special project The Possible is Monstrous presents works by local, national, and international artists from different generations in various public spaces and freely accessible areas of selected institutions. As an interinstitutional collaboration, the project is curated by four curators from different institutions in Basel. The project is generously supported by Swisslos-Fonds Basel-Stadt and Swisslos-Fonds Basel-Landschaft, with organizational support from Art Basel.

The project was curated by Elena Filipovic (Kunsthalle Basel), Ines Goldbach (Kunsthaus Baselland), Daniel Kurjaković (Kunstmuseum Basel) and Samuel Leuenberger (SALTS).


Participating artists:

Yael Bartana, Eric Baudelaire, Mariana Castillo Deball, Latifa Echakhch, Judith Kakon, Teresa Margolles, Marinella Senatore, Augustas Serapinas, Hannah Weinberger, Krzysztof Wodiczko.


The curatorial concept aimes to stimulate the experience of the public sphere in times of crisis and make it experienceable as a jointly shared social space. The pandemic has shaken society to its foundations, fueled insecurity and raised existential difficulties. It has also brought to light concerns of meaning and necessary reorientation. The experience of public space, the relationship to the Other, the sense of community and togetherness is being reflected upon more deeply. The languages of art themselves are being tested, artistic practices re-examined with regard to the questions of relevance, of recalibration of social priorities, of as well as of altered thresholds and barriers. The project enabled viewers to explore art’s materiality and physicality, negotiate its transformative potential and propose pertinent forms of reflection and participation.

Curator: Elena Filipovic (Kunsthalle Basel), Ines Goldbach (Kunsthaus Baselland), Daniel Kurjaković (Kunstmuseum Basel) und Samuel Leuenberger (SALTS)