Meet the artists selected for OCCUPY TIME

Aline Bovard Rudaz - Cherche RADIUMINEUSE

Cherche RADIUMINEUSE is a photographic exploration of a little-known facet of Swiss industrial history: the contribution and fate of the female workers known as ‘Radiumineuses’. Between the early 1920s and the late 1960s, hundreds of women workers applied radium-based phosphorescent paint to watch dials and hands, enabling them to tell the time in the dark. For years, they repeated the same meticulous gestures in factories or at home, handling the radioactive substance without adequate protection. The bodies of these women, and sometimes those of their loved ones, were thus exposed to serious and irreversible risks. Invisible, many of these workers saw their health sacrificed for the benefit of an industry that today remains a symbol of Swiss excellence.

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Anna Safiatou Touré - L'Immeuble aux Planteurs

L'Immeuble aux Planteurs is a multimedia project in dialogue with two statues located at 40 Boulevard Léopold in Liège. Created in 1878 by Michel Decoux, these figures, a planter and a harvester, each missing a hand, embody the symbolic violence of colonial history in public space and the silence surrounding it. Starting from these absences, Anna Safiatou reconstructs the missing hands in raw earth, initiating a fictional narrative that moves between physical and moral repair.

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Anton Shebetko - Dear Sons and Daughters of Ukraine

"Dear Sons and Daughters of Ukraine" examines how images of national heroes are constructed and how biographical facts are selectively manipulated to support dominant historical narratives. The project also reconsiders processes of memorialisation from a queer perspective, proposing new meanings for symbols inherited from past eras.

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‍Chloe Azzopardi - Non-technological devices

This series is a futuristic fiction in which the artist ­explores other forms of cohabitation with the living and opens up avenues of reflection on what might be an iconography of ecological self-defence.
Non-technological devices are composite tools made from gleaned natural elements, assembled with string to mimic the technological devices that populate our daily lives. Between rudimentary ­productions and science-fiction creations, these objects are as much prolongations of bodies as they are hindrances. Associated with invented artefacts, they create a fictional universe that functions as a mirror held up to our fantasies of the “future“.

Johanna Chia-yu Lin - The Weight that Holds

The Weight that Holds is an installation of eight large-scale works. It was originally created for an old apartment in Taichung, Taiwan, responding to the spatial character of the place: a long, narrow room with a balcony window filled with shifting subtropical light. The work is part of the long-term project As the Crow Flies, developed through living in Norway while repeatedly returning to Taiwan over the past seven years. This movement has shaped how I experience time, not as continuous, but as something fractured across distance.

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‍Julius Schien - Rechtes Land

Since 1990, over 200 people have died due to right-wing violence in Germany - 200 fates that often disappear from our collective memory. »Rechtes Land« documents the crime scenes of these heinous acts, confronting the persistent presence of right-wing extremism within German society and creating a hitherto unique visual catalogue of the places into which violence has inscribed itself.

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‍Marco Frauchiger - Camera Obscura Type III

Camera Obscura Type III (work in progress) investigates Switzerland’s entanglement in the Secret War in Laos through the material remains of Swiss-made Pilatus PC-6 Porter aircraft. Inspired by local practices of transforming war debris into everyday tools, I constructed a large-format camera from shot-down aircraft wreckage. With it, I capture something in Laos where nothing is left to see, before returning the camera to Switzerland, where it photographs the industrial sites at which its own material was once manufactured.

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Raisan Hameed - Pixels of Memories

After Image brings together two archives, one digital and one personal, and continues the long-term project Pixels of Memories. The work originates from an extended search through Google Street View imagery of Iraq, where fragmented and unstable images form an unintended archive shaped by war, technology, and power. Rather than focusing on what is visible, the project engages with absence: pixelation, glitches, erased bodies, and gaps in the image. These disruptions reveal how visibility is not neutral but regulated by technical systems that determine what can be seen and what disappears.