Museum Haus Konstruktiv is the leading institution for constructivist, concrete, and conceptual art in Switzerland, and is highly regarded internationally. This art form, characterized by the accomplishments of the Zurich Concretists surrounding Max Bill, Richard Paul Lohse, Camille Graeser, and Verena Loewensberg from the 1930s to 1950s, is now so essential to the landscape of modernism, that it is no longer possible to imagine this landscape without it. We have made it our task to keep this art-historical heritage alive and to link it to contemporary art. One of our objectives is to demonstrate the interfaces that connect the legacy of constructivist-concrete art with the international art scene – and the past with the present.
The art-historical background comprises Russian constructivism and the constructivist-concrete stimuli of 1920s and 1930s Western Europe, including the Bauhaus, but also kinetic art, op art and 1960s American minimal art, as well as 1960s conceptual art, which arose from the tendency toward reduction that all of the above have in common.

Museum Haus Konstruktiv is the leading institution for constructivist, concrete, and conceptual art in Switzerland, and is highly regarded internationally. This art form, characterized by the accomplishments of the Zurich Concretists surrounding Max Bill, Richard Paul Lohse, Camille Graeser, and Verena Loewensberg from the 1930s to 1950s, is now so essential to the landscape of modernism, that it is no longer possible to imagine this landscape without it. We have made it our task to keep this art-historical heritage alive and to link it to contemporary art. One of our objectives is to demonstrate the interfaces that connect the legacy of constructivist-concrete art with the international art scene – and the past with the present.
The art-historical background comprises Russian constructivism and the constructivist-concrete stimuli of 1920s and 1930s Western Europe, including the Bauhaus, but also kinetic art, op art and 1960s American minimal art, as well as 1960s conceptual art, which arose from the tendency toward reduction that all of the above have in common.

Art Week Tokyo 2026 expands its activation of the city’s diverse array of museums and art spaces. New institutional highlights include Nam June Paik: The 20th Anniversary of His Passing at Watari-um…
Gary Briechle’s practice is disciplined, almost monastic. Every day roving around Rockland, Maine in an SUV loaded with chemicals, looking at the same mundane scenes and subjects, but expecting different results.
Julie Bullard, a work of photographic fiction by Nadia Lee Cohen and Martin Parr. The book is designed as a late-seventies photo album, closely modelled on an example acquired from eBay, complete with faux leather spongy board covers…
Tate, in collaboration with Delfina Foundation, invites applications for the Brooks International Fellowship Programme 2027. Now in its thirteenth year, the programme will enable practitioners to work with Tate…
Arnold J. Kemp: Not One Thing is the first institutional survey of work by the Chicago-based artist Arnold J. Kemp (b. 1968, Boston). The exhibition focuses on Kemp’s performative and material tendencies of masking, traced through various media.