Latest Events in Zurich(January Updated)

Linkin Park Zurich promises to be an unforgettable experience for fans of the iconic band. Scheduled for June 30, 2026, at the renowned StadionLetzigrund in Zurich, Switzerland, this event marks a significant moment in the city's cultural calendar. With a ticket price of 234 USD, attendees will witness a spectacular performance in a venue known for its vibrant atmosphere and excellent acoustics. As the sun sets over Zurich, the anticipation builds for an evening filled with the electrifying energy and powerful music that Linkin Park is celebrated for worldwide. This event not only showcases the band's timeless hits but also offers a unique opportunity to experience their dynamic stage presence in a city that embraces music and art with open arms. With its central location and rich history, StadionLetzigrund provides the perfect backdrop for this much-anticipated concert, ensuring that Linkin Park Zurich will be a night to remember for all who attend.

Wilhelm Lehmbruck (1881 Duisburg – 1919 Berlin), one of the most important sculptors of his generation, moved to Zurich from Germany in 1916. During the First World War, the city became a meeting place for international artists. It was in this inspiring environment that Lehmbruck reached another peak of his powers: his last works in particular reveal him to be a visionary, charting out a new course with his ‘mental’ sculptures. Joining him in a visual dialogue is the contemporary Swiss artist Yves Netzhammer (b. 1970 Schaffhausen), whose drawings, spatial installations and computer-generated video films are a captivating blend of corporeal appearance and pictorial narrative. Netzhammer will conceive the overall spatial design of the exhibition and develop new works in resonance with Lehmbruck. The exhibition is a cooperation with the Kunstmuseum Moritzburg in Halle (Saale), in collaboration with the Lehmbruck Museum, Duisburg.

High above Zurich, the winter wonderland comes alive with light-up paths, cozy cottages, and a plethora of activities. Curling rinks offer a venue for the sport, while weekends feature candle-making and mini Christmas markets. Dining options are plentiful, ranging from mulled wine and street food to Maiensäss cheese fondue. Torch-lit forest trails and breathtaking panoramic views of the city, lakes, and the Alps perfectly capture the magic of winter. The winter wonderland is easily accessible from Zurich Central Station via the Uetliberg Railway.

The Zurich Marathon is popular both with pro athletes and amateurs and provides a unique running experience in and around Zurich. The route runs for the most part along Lake Zurich and consequently is not only attractive as a sports event, but also visually. The start and finish lines are at the upper lake basin and go through downtown Zurich, which provides an impressive backdrop for spectators. In addition to the marathon, there is also a half-marathon, and a city run (10k). Enjoy the fast course through the beautiful city of Zurich and along the unique Lake Zurich.

Accessories have always been more than mere decoration: hats, scarves, gloves, bags and shoes reflect social, political and religious affiliation, denote power and status, protect and give form to the body, or represent the latest fashions. The exhibition features items from the Swiss National Museum collection to show how accessories are shaped by social change. From the strict dress codes of the early modern period to current-day trends that play with gender norms, the exhibition takes a look at fashion history from head to toe.

Brazilian artist Lygia Clark (1920 Belo Horizonte – 1988 Rio de Janeiro) radically redefined the concept of art and is one of the most important art practitioners in South America. One of the leading figures in the Neoconcretismo movement established in Rio de Janeiro in 1959, she encouraged a bodily experience of art that involves people in the work and makes them part of it. With installations that visitors could activate, walk through and touch, she challenged conventional notions of sculpture and expanded art into a holistic and sensual experience. Despite the pre-eminence of Abstract Expressionism and later Pop Art, Clark was remarkably successful in asserting her unconventional ideas during Brazil’s military dictatorship from 1964 to 1985 – a time when artistic freedom was under threat. In this exhibition, the first retrospective in a German-speaking country, we celebrate her unconventional and still highly exciting historical work. She herself said: ‘For me, making art is about developing as a person, which is the most important thing of all. Art should not seek to emulate a name or any kind of concept.’ Today, in an age of digital transformation and globalization mingled with self-alienation, her oeuvre speaks more than ever to all the senses. A retrospective in cooperation with the Neue Nationalgalerie in Berlin in collaboration with the Associação Cultural Lygia Clark in Rio de Janeiro. The exhibition is accompanied by a separate presentation in collaboration with Museum Haus Konstruktiv, which focuses on links between Switzerland and Brazil and, in particular, the influence of the Zurich Concrete artist Max Bill on Lygia Clark and her generation, and their emancipation from him.

Wu Tsang and Enrique Fuenteblanca present an intervention within the Kunsthaus Zürich’s ReCollect! series, combining works from the collection with a newly developed sound installation. La montaña invertida transforms the dome hall into a space for listening, sensing and rethinking.

Wilhelm Lehmbruck (1881 Duisburg – 1919 Berlin), one of the most important sculptors of his generation, moved to Zurich from Germany in 1916. During the First World War, the city became a meeting place for international artists. It was in this inspiring environment that Lehmbruck experienced a late burst of creativity: his last works in particular reveal him to be a visionary, charting out a new course with his ‘mental’ sculptures.

Born in New York in 1956, Cathy Josefowitz spent her childhood and adolescence in Geneva, Switzerland. The artist’s lifelong fascination with the bodily experience was sparked in part by her study of stage design at the Théâtre National de Strasbourg from 1972 – 1973. After attending the École Nationale Supérieure des Beaux-Arts in Paris from 1973 – 1978, Josefowitz studied performing arts and new dance at the renowned Dartington College of Arts in Devon, England from 1979 to 1983 and later choreography at the SNND School for New Dance Development, Amsterdam from 1987 – 1988. During her time in England, Josefowitz became involved in political activism, taking part in demonstrations, marches and conferences supporting both the feminist movement and the gay and lesbian liberation movement. Mirroring the increase in her engagement in political activism and feminism, Josefowitz’s art intensified its representation of female sensation and feeling. The presentation takes its title from Josefowitz’s choreographic piece ‘Release’ (1988), a performance replete with fluid movements that is projected on the wall of the gallery. Drawing on the Anatomical Release technique pioneered by dance teacher and choreographer Mary Fulkerson, Josefowitz falls, twists and rolls in order to let go of tension and cultivate creativity, liberating her body and mind. This feeling of liberation is translated into her later works through the gradual shift from figuration to abstraction. Her relentless and personal quest for expression unites the various works on view in Zurich, with some exhibiting elements of self-portraiture. Josefowitz’s exploration of the corporeal manifests in works from the 1970s that are filled with figures, predominately female, reclining or in varying states of repose. Her oils on cardboard, such as ‘Untitled’ (ca. 1974), are characterised by colourful backgrounds portraying domestic interiors, influenced by the artist’s exploration of stage design. The unnaturalistic colour and vivid brushstrokes of this period, particularly apparent in Josefowitz’s gouches on paper, recall the work of fauvists Henri Matisse and André Derain, who rejected three-dimensionality in their painting practice. Similarly, Josefowitz flattens the body by using a black contour line upon the solid color plane to portray the profile of the nude figure; yet, Josefowitz challenges the traditional depiction of the reclining nude through her female gaze and contemporary position. The simplification of the subjects’ form makes the work appear abstract and demonstrates the ever-evolving nature of her practice. These paintings are complemented by figurative works from the early 1990s in which Josefowitz’s visual language enters a new phase, revealing a different way of working with the body through a shift in pattern, style and form. Using various combinations of oil, gouache, charcoal, pastel or chalk, the artist’s biomorphic subjects reached a new level of simplification, becoming indistinguishable from the chairs on which they rest. ‘Untitled’ (1993) exemplifies this movement towards a more non-representational style, achieved by a focus on shape of the figure and bold planes of color. Releasing her subjects from historic depictions of the female body, Josefowitz reveals a unique awareness of and sensitivity to the physical forms of the self. The backgrounds of the works have also entered a transformation, characterised by geometric patterns and curvilinear forms, resulting in the isolation of the figure in space. This development is also charted in her series of watercolour paintings on receipts (1988 – 1992) exploring the female nude on a more intimate scale. A travelogue of her trip from Parma to Vienna in the summer of 1988, these works exhibit elements of autobiography. Using watercolor and ink, the contorted limbs and fluid brushstrokes in ‘Le Vieux Bistrot - Paris’ (1991) evoke Josefowitz’s flexible movements in ‘Release,’ whilst the checkered background of ‘Trattoria dall’Amelia – Mestre’ (1992) alludes to her stylized domestic interiors from the 1970s and geometric patterns from the 1990s. The figurative realm soon gave way to increasing abstraction with Josefowitz’s Prayers series (1998 – 2001). Depicting prayer shawls and mats, the artist uses a freedom of expression beyond the constraints of the figurative and the abstract. Often named after family members or a place she loved, such as ‘Parme’ (c 2001) or ‘Patisserie Égyptienne’ (1999), these large-format paintings see Josefowitz using a reduced color palette. These are placed in tandem with the similarly monumental Venus series (2004 – 2006). Josefowitz became increasingly engaged in the physicality of creation, intersecting her performative and pictorial practices by working on the floor of her studio instead of the wall. For these works, the artist placed fabric on the canvas in a dynamic position and traced around it; the resulting abstracted forms, painted in blocks of colour, express the body’s presence and represent self-portraits. The freedom and movement of these forms are juxtaposed with depictions of static reclining nudes that revist tropes of womanhood from classicism, referenced through titles such as ‘D’après I’Olympia de Manet’ (2004 – 2005) and ‘D’Après la Vénus de Titien’ (2004 – 2006). Harking back to her work of the 1970s that challenged the traditional male gaze of art history, the Venus series articulates the different configurations a human body can take as a form of both resilience and liberation. In surveying the development and revisitations of the artist’s visual language, this exhibition attests to Josefowitz’s enduring determination to depict the figure in both its anatomical and metaphysical dimensions.

His photographs demonstrate an innate understanding of how forms, colours, textures and depth translate to the pictorial plane. He is working with a visual vocabulary that has been well established by the work of many contemporary photographers. Mizutani’s work serves as a good gauge of the visual tropes and photographic styles that are prevalent among young photographers in Japan. Yoshinori Mizutani lives and works in Tokyo. Mizutani graduated from the Tokyo College of Photography in 2012. He has won a number of prestigious awards including Japan Photo Award in 2013 as well as Foam Talent Call and Lens Culture Emerging Talents Top 50 in 2014. Since 2012 he has exhibited in many international institutions in Japan, China, Belgium, Great Britain, Italy, and Switzerland, and has published, among others, ‘Tokyo Parrots’, Colors’, ‘Yusurika’ and ‘Hanon’.