Julius Baer Art Collection

Otherworldly
Art can whisk its viewers away on a journey to other worlds – to different planets, dimensions and imaginary visions of the future, all inspired by science-fiction and surreal ideas. These works can range from the spiritual to the futuristic, encompassing everything from people’s inner states to the wide expanse of the cosmos. The worlds they create transcend the commonplace and let us see what lies underneath, granting us insights into exotic, unfamiliar systems and otherworldly forms of existence. They are realms of the imagination that move beyond tangible reality, transposing viewers to different spheres and moods. In this space, art becomes a portal to other domains: alien, difficult to grasp, and occasionally deeply transformative.

Artists shape encounters and contents by using surreal, dreamlike, even futuristic elements, or fantastical creatures and landscapes. They might integrate various technologies, materials, extraordinary colours and symbols into their work. In the process they come face to face not only with the familiar, but also with unknown or even supernatural aspects.

Mathis Gasser (b. 1984) creates collages and paintings such as ‘Star Trek Federation and Alien Ships’ (2024), ‘The Tet’ (2014) or ‘Zuestoll / Churfirsten’ (2024) which focus on spaceships and other surreal sci-fi elements that could conceivably threaten or influence our planet. In referring to extra-terrestrial life forms he poses questions about our position in today’s world.

Meret Oppenheim (1913−1985), probably the most well-known 20th-century Swiss artist and a practitioner of Surrealism – although she later distanced herself from the movement – is represented in the Julius Baer Art Collection by several works, including the drawing ‘Geier und gelb-roter Gegenstand’ (1975). Animals such as vultures appear repeatedly in her works as the embodiment of the subconscious.

In works such as his ‘LossProfit Stadium’ (2024), Guillaume Dénervaud (b. 1987) creates futuristic, abstract and colourfully shimmering world systems that are charged with energy and largely devoid of people. Sourcing his ideas from sci-fi genres permits allows the artist to present the vision of a new way of life emerging from catastrophe and sound out questions regarding our approach to our habitat.

The winner of this year’s Prix Meret Oppenheim, Pamela Rosenkranz (b. 1979) explores the interaction between nature and technology in her series ‘Healer Scrolls’. She investigates the rapid pace of social, societal and technological transformation as well as the relationship between nature and the artificial world.

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Otherworldly
Art can whisk its viewers away on a journey to other worlds – to different planets, dimensions and imaginary visions of the future, all inspired by science-fiction and surreal ideas. These works can range from the spiritual to the futuristic, encompassing everything from people’s inner states to the wide expanse of the cosmos. The worlds they create transcend the commonplace and let us see what lies underneath, granting us insights into exotic, unfamiliar systems and otherworldly forms of existence. They are realms of the imagination that move beyond tangible reality, transposing viewers to different spheres and moods. In this space, art becomes a portal to other domains: alien, difficult to grasp, and occasionally deeply transformative.

Artists shape encounters and contents by using surreal, dreamlike, even futuristic elements, or fantastical creatures and landscapes. They might integrate various technologies, materials, extraordinary colours and symbols into their work. In the process they come face to face not only with the familiar, but also with unknown or even supernatural aspects.

Mathis Gasser (b. 1984) creates collages and paintings such as ‘Star Trek Federation and Alien Ships’ (2024), ‘The Tet’ (2014) or ‘Zuestoll / Churfirsten’ (2024) which focus on spaceships and other surreal sci-fi elements that could conceivably threaten or influence our planet. In referring to extra-terrestrial life forms he poses questions about our position in today’s world.

Meret Oppenheim (1913−1985), probably the most well-known 20th-century Swiss artist and a practitioner of Surrealism – although she later distanced herself from the movement – is represented in the Julius Baer Art Collection by several works, including the drawing ‘Geier und gelb-roter Gegenstand’ (1975). Animals such as vultures appear repeatedly in her works as the embodiment of the subconscious.

In works such as his ‘LossProfit Stadium’ (2024), Guillaume Dénervaud (b. 1987) creates futuristic, abstract and colourfully shimmering world systems that are charged with energy and largely devoid of people. Sourcing his ideas from sci-fi genres permits allows the artist to present the vision of a new way of life emerging from catastrophe and sound out questions regarding our approach to our habitat.

The winner of this year’s Prix Meret Oppenheim, Pamela Rosenkranz (b. 1979) explores the interaction between nature and technology in her series ‘Healer Scrolls’. She investigates the rapid pace of social, societal and technological transformation as well as the relationship between nature and the artificial world.

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Mathis Gasser (b. 1984), Star Trek Federation and Alien Ships, 2024,

oil on canvas, 280 x 184 x 4.5 cm

Gabriele Garavaglia (b. 1981), Family Story, 2023,

resin, airbrush painting, foam, Velcro, PVC and wigs, 85 x 40 x 40 cm

Teresa Chen (b. 1963), Submerging, 1999,

C-print on aluminium, 80 x 120 cm

Francisco Sierra (b. 1977), Malewitschs Quadrat fliegt mit dem Jetpack davon, 2012,

oil on wood, 28.5 x 35 cm

Guillaume Dénervaud (b. 1987), LossProfit Stadium, 2024,

tempera, oil and pencil on linen, 122 x 83 x 2.5 cm

Adrien Missika (b. 1981), Space Between (Cratère), from the series: The Space Between, 2007,

C-print on paper mounted on aluminium, 75 x 100 cm

Natacha Donzé (b. 1991), Functional dust II, 2024,

acrylic and reflective beads on paper, 82 x 62.5 cm

Giacomo Santiago Rogado (b. 1979), Horizont, 2007,

acrylic and oil on canvas, 230 x 240 cm

Bob Gramsma (b. 1963), Silver Bullet, OI#13174, 2013,

aluminium cast, 140 x 41 x 21 cm, © 2025, Pro Litteris, Zurich

Miriam Cahn (b. 1949), Sie will den Kopf nicht senken, 1985,

6 parts, charcoal on paper, 48 x 34 cm each

Simone Holliger (b. 1986), Knick, 2018,

paper, glue and graphite, 87 x 60 x 59 cm

Mathis Gasser (b. 1984), The Tet, 2014,

oil and acrylic on canvas, 80 x 60 cm

Philippe Decrauzat (b. 1974), Untitled, 2005,

acrylic on canvas, 170 x 250 cm, © 2025, Pro Litteris, Zurich

Julian Charrière (b. 1987) / Julius von Bismarck (b. 1983), Objects in Mirror Might Be Closer Than They Appear VII, 2016,

archival pigment print on Hahnemühle photo rag, 82 x 62 cm, © 2025, Pro Litteris, Zurich

Sara Masüger (b. 1978), Untitled, 2020,

Acrystal and pigment, 30 x 22 x 19 cm

Andreas Dobler (b. 1963), Delirius, 1999,

Indian ink on paper, mounted on canvas, 178 x 295 cm, © 2025, Pro Litteris, Zurich

Andriu Deplazes (b. 1993), Liegen zwischen Sonnenblumen, 2021,

oil on canvas, 263 x 187 x 3.5 cm, © 2025, Pro Litteris, Zurich

Denis Savary (b. 1981), Jack II, 2021,

blown glass, 32 x 33 x 28 cm

Noori Lee (b. 1977), Dusk, 2005,

oil on aluminium, 60 x 100 cm

Florio Puenter (b. 1964), Brünig, 2015,

Cibachrome on paper, 46.5 x 37 cm

Leiko Ikemura (b. 1951), Usagi Face, 2023,

cast glass, 40.5 x 38 x 12 cm

Bob Gramsma (b. 1963), –, OI#20260, 2020,

aluminium sand cast, 120 x 55 x 47 cm, © 2025, Pro Litteris, Zurich

Yves Netzhammer (b. 1970), Serigrafie auf Glas 1, 2004,

serigraph printed on both sides of glass, 50 x 35 cm

Serge Hasenböhler (b. 1964), Clair de lune Nr.13, 2011,

museum fine art print on paper, 80 x 60 cm

Christelle Kahla (b. 1994), The Lovers #7, 2021,

spray on glossy paper, 29.7 x 21 cm

Yannic Joray (b. 1986), Whitley’s Room, 2020,

plaster casting, LED spotlight, 18 x 37.5 x 31.3 cm

Gina Proenza (b. 1994), Contre-nuit I, 2024,

print on perforated paper, 30 x 40 cm

Fabian Marti (b. 1979), Capsule (All is All), 2014,

textile, cast in polyester, 43 x 34 x 31 cm

Vanessa Billy (b. 1978), Nuclear sun, 2016,

organic resin and dye, Ø 67 cm

Mathis Gasser (b. 1984), Zuestoll / Churfirsten, 2024,

collage and acrylic on paper, 83.3 x 64.6 cm

Admir Jahic (b. 1975) / Comenius Roethlisberger (b. 1971), Brown, from the series: Into the Deep, 2013

synthetic resin, natural pigments and glass, 82 x 60 cm

Sara Masüger (b. 1978), Kinetic Replacement III, 2016,

Acrystal, wood and tiles, 22 x 80 x 82 cm

Daniela Keiser (b. 1963), Anna Atkins Appletree, 2020,

2 parts, cyanotype on paper, 76 x 56.5 cm each

Shirana Shahbazi (b. 1974), Luftpflanze Blau (dunkelblau), 2020,

C-print on aluminium, handmade ceramic frame, 23.5 x 18.5 cm

Chloé Delarue (b. 1986), TAFAA – ONLY RELICS FEED THE DESERT (HALO), 2021,

aluminium, fluorescent tubes, glass, latex, transfer printing, cables and ballast, 228 x 60 x 40 cm

Raphael Hefti (b. 1978), Hay hay hay the eye!, 2016,

8 parts, Iris print on paper, 35 x 50 cm each

Mario Sala (b. 1965), N.G. Face 04, 2017,

car paint, wood and aluminium, 250 x 384 x 4 cm

Shahryar Nashat (b. 1975), Photoscaled 1 (Yellow), 2011,

C-print on paper, 50 x 44 cm

Elza Sile (b. 1989), Who 21 levels who 360 degrees, 2023,

oil, acrylic, collagen, graphite and thread on hand-tapped aluminium, 175 x 125 cm

Pamela Rosenkranz (b. 1979), Healer Scrolls (Pearl Cost), 2023,

pigment print, watercolour on kirigami cut paper, 42 x 59.4 cm

Andres Lutz (b. 1968) / Anders Guggisberg (b. 1966), Geist, 2012,

Plexiglas and asphalt varnish, 127 x 36 x 76 cm, © 2025, Pro Litteris, Zurich

Vittorio Brodmann (b. 1987), Little Sense of Urgency, 2019,

acrylic and oil on canvas, 160 x 120 cm

Beni Bischof (b. 1976), Car (yellow) with Berts, from the series: Handicapped Cars, 2018,

Lambda print on paper, 50 x 72 cm

Guillaume Pilet (b. 1984), Surrogate mother 3, 2013,

glazed ceramic, 25 x 9 x 11 cm

Andriu Deplazes (b. 1993), Blauer Körper vor Himmel, 2020,

Indian ink on paper, 32 x 24 cm, © 2025, Pro Litteris, Zurich

Beni Bischof (b. 1976), Hässliche aber freundliche Teekanne, 2013−2014,

oil, spray, glitter, chewing gum on teapot, height (from left to right): 35 cm, 19 cm, 22 cm, 30 cm; I refuse to sink (second from left), 2015, clay and chewing gum

Lori Hersberger (b. 1964), Time was an Idiot, 1999,

acrylic and fluorescent paint on cotton, 152 x 122 cm

Roman Signer (b. 1938), video stills from: Beim Radiosender Beromünster, 2008,

video PAL, SD (4:3), with sound and in colour, 1’ 11’’

Monster Chetwynd (b. 1973), Lanternfly Ballet, 2025,

mixed media and collage on paper, 20.9 x 28.7 cm each

Monster Chetwynd (b. 1973), Lanternfly Ballet, 2025,

mixed media and collage on paper, 20.9 x 28.7 cm each

Monster Chetwynd (b. 1973), Lanternfly Ballet, 2025,

mixed media and collage on paper, 20.9 x 28.7 cm each

Patrick Graf (b. 1981), Die Insel der Zeiten, 2016,

woodcut on paper, 125.5 x 171.5 cm

Monster Chetwynd (b. 1973), Lanternfly Ballet, 2025,

mixed media and collage on paper, 20.9 x 28.7 cm each

Simone Holliger (b. 1986), Fremde im selben Raum (4), 2018,

paper, glue and ink, 220 x 140 x 50 cm

Miriam Cahn (b. 1949), L.I.S ...Hinsehen, 1985,

6 parts, charcoal on paper, 76 x 56 cm each

Marie Matusz (b. 1994), Singular Objects I, from the series: Patterns of Exhaustion, 2025,

natural pigments, acrylics and oil paint on PVC, mirror, wood and PMMA, 208 x 149 x 7.5 cm

Hildi Hess (1911–1998), Centauress, n.d.,

bronze sculpture, 31 x 11 x 26 cm

Meret Oppenheim (1913−1985), Geier und gelb-roter Gegenstand, 1975,

watercolour, pastel and charcoal on paper, 26 x 34 cm, © 2025, Pro Litteris, Zurich

Marta Margnetti (b. 1989), Ficcanaso (M.), 2020,

clay and concrete, 24 x 24 x 5 cm

Kilian Rüthemann (b. 1979), video stills from: The Object, 2004,

video, 15’’

Julia Steiner (b. 1982), Ground space (confusion), 2011,

gouache on paper, 123 x 148 cm

Simone Holliger (b. 1986), Gather together, 2021,

paper, glue, paint and boat varnish, 93.5 x 60 x 15.5 cm

Vivian Kasel (b. 1987), So du Mammut, 2010,

mixed media on canvas, 100 x 124 cm

Maya Bringolf (b. 1969), Untitled, 2007,

polyurethane foam, acrylic paint and mirror, 110 x 95 x 24 cm

Nils Nova (b. 1968), Empty Center (Double), 2017,

gloss paint on copper, 79 x 99 x 2 cm

Serge Hasenböhler (b. 1964), Unter den Bäumen 2 (Waldmeisen), 2005,

digital C-print on paper, 140 x 100 cm

Jasmine Gregory (b. 1987), Brand is a story unfolding across all customer touchpoints, 2022,

cellophane, oil, googly eyes, acrylic glitter, napkin and epoxy on linen, 50 x 40 cm

Mai-Thu Perret (b. 1976), The Prairie II, 2013,

glazed ceramic, 24 x 62 x 51 cm

Adrien Missika (b. 1981), Space Between (Dome), from the series: The Space Between, 2007,

C-print on paper mounted on aluminium, 75 x 100 cm

Chloé Delarue (b. 1986), TAFAA – UNNECESSARY DOUBT, 2023,

latex, resin, aluminium and neon, 110 x 74 x 8 cm

Natacha Donzé (b. 1991), Repository, adaptation, 2024,

acrylic on canvas, 80 x 80 cm

Nina Weber (b. 1980), Nasenkuchen Gold, 2008,

clay sculpture and gold leaf, 20 x 18.5 x 18 cm

Tatjana Gerhard (b. 1974), Untitled, 2006,

oil on canvas, 50 x 60 cm

Cassidy Toner (b. 1992), Backfire, 2023,

alabaster, polymer clay, spray paint and LEDs, 36 x 58 x 48 cm

Louisa Gagliardi (b. 1989), Dandelions, 2021,

gel medium, nail polish and ink on PVC, 150 x 170 cm

Cathérine Gauchat (b. 1956), Zauberlehrling, 1987,

4 parts, acrylic on canvas, 29.5 x 55 cm each

Maureen Kaegi (b. 1984), Untitled (atterrir), 2022,

acrylic and pigment on canvas, 160 x 135 cm

Silvia Gertsch (b. 1963), Sinn-Licht-Sein, zu Gast bei mir, 1992,

acrylic on blackboard paint on glass, 105 x 60 cm

Augustin Rebetez (b. 1986), Untitled (box), 2010−2016,

wood and various materials, 30 x 51.5 x 4 cm

Klaudia Schifferle (b. 1955), Rötel, 1981,

paint on Pavatex, 35 x 170 cm, © 2025, Pro Litteris, Zurich