The Fondation Beyeler in Riehen, Switzerland, is currently hosting a major solo exhibition dedicated to the work of French artist Pierre Huyghe. Running through September 13, 2026, the exhibition serves as the artist’s first comprehensive solo presentation in a Swiss museum. Curated by Mouna Mekouar and Anne Stenne, the show features a range of works—from established pieces to newly commissioned installations—that explore the intersection of technology, biology, and the uncanny. According to official museum documentation, the exhibition is designed as a dynamic, evolving organism, with various elements reacting to environmental inputs in real time.
The exhibition follows the artist’s widely discussed 2022 presentation, Liminal, held at the Punta della Dogana in Venice. While that previous show focused on the transition between states of being, the Fondation Beyeler presentation expands this inquiry through new sensory-driven installations. Central to the experience is Apnea (2024), an artificial breathing organ that reportedly regulates the rhythmic atmosphere of the gallery spaces. The exhibition also incorporates a robotic worm and an A.I.-generated gate, creating a technological ecosystem that stands in stark contrast to the singular non-Huyghe work included in the show: Max Ernst’s 1941 painting, The Witch, on loan from the Princeton University Art Museum.
The Role of Idiom and Sensor Technology
A focal point of the exhibition is the series titled Idiom (2024). These pieces consist of golden resin masks worn by performers, which function as autonomous, sensor-equipped entities. According to Fondation Beyeler, these masks are reactive, responding to subtle signals and environmental stimuli that often exist beyond the threshold of human perception. The masks house integrated speakers, LED lights, and sensors, allowing them to emit sounds described as a non-linguistic, synthesized form of communication.
The curators have positioned these masks not merely as sculptures, but as participants in a developing community. In previous iterations of the artist’s work, such as those presented in Venice, these entities were described as an “entity without body,” capable of forming an unprecedented form of language. By placing these masks within the architectural confines of the Beyeler, the exhibition challenges visitors to consider how non-human intelligence and synthetic entities might evolve within a controlled, museum-based environment.
Exploring the Uncanny and Biological Evolution
The exhibition also revisits earlier themes of biological and technological hybridity. A notable inclusion is Human Mask (2014), a film that documents a macaque monkey wearing a Noh-style mask and a uniform, moving through an abandoned, post-apocalyptic setting. The work is noted for its ability to evoke the aesthetics of Japanese horror, relying on the “uncanny” to blur the lines between human and animal, as well as between living and artificial actors. The film highlights the artist’s ongoing preoccupation with how external appearances can mask inner, perhaps unknowable, realities.
Further grounding this exploration of life-forms is Cambrian Explosion 19 (2013). This installation features a volcanic rock suspended within an aquarium, creating a visual paradox that suggests a state of being both “alive and dead.” By juxtaposing ancient geological material with the controlled, sterile environment of a modern aquarium, the piece invites viewers to consider the passage of deep time versus the speed of current technological development. The work remains a significant example of the artist’s interest in autonomous systems that do not require human interaction to sustain their internal logic.
Curatorial Approach and Institutional Context
The exhibition is a collaborative effort by Mouna Mekouar, curator at large at the Fondation Beyeler, and Anne Stenne, who previously curated the Liminal exhibition in Venice. Their approach emphasizes the “epic feeling” often associated with the artist’s large-scale installations, while grounding them in the specific site of the Beyeler building in Riehen. The decision to include Max Ernst’s The Witch creates a historical dialogue, bridging the gap between early 20th-century Surrealism and contemporary, tech-integrated artistic practices.
Visitors planning to attend the exhibition should note that the museum is located at Baselstrasse 101, 4125 Riehen, Switzerland. The exhibition is scheduled to remain on view through September 13, 2026, providing an extended duration for the public to engage with the artist’s evolving, sensor-responsive installations. Further details regarding opening hours, ticketing, and accessibility can be found on the official Fondation Beyeler website.
As the exhibition progresses, the museum expects to provide updates on any shifts in the installations, as several pieces are programmed to change based on the data they ingest from their surroundings. Readers are encouraged to check the museum’s official portal for the latest information on guided tours and any potential changes to the exhibition’s layout. Comments and insights regarding the visitor experience are welcome as the show continues its multi-year run.