Bora Tanay

derma off
Grichka Commaret


Jérôme Baccaglio

Everything Looks like a Nail
Silicon Malley

Melanie Akeret


This happened or maybe it did not. The time is long past and much is forgot.
Matthias Liechti

Marie Gyger

Matthieu Laurette


Rupture de Stock
Dac Hanh Nguyen

Exposition Collective
Thomas Julier & Miriam Laura Leonardi, Charly Mirambeau, Ceylan Öztrük, Caroline Schattling Villeval, Kelly Tissot - - proposée par Paolo Baggi

Adrien Chevalley

Un vendredi à la campagne.
Les champs de blé s'étendaient à l'infini.

Andreas Hochuli


On Italian museography...
Koenraad Dedobbeleer, Antonios Prokos, David Viladomiu, Lerna Bagdjian, Eric Bonhôte, Lois Bouche, Svenja Clausen, Noé Cuendet, Vincent Dorfmann, Florent Dubois, Floriane Fol, Fanny Frykberg Wallin, Alexandra Fuchs, Eva Hürlimann, Valentine Jaques, Valdrin Jashari, Daniela Lopes Peñaloza, Nina Mosca, Marion Moutal, Philippine Radat, Germán Ribera Marín, Valentine Robin, Felix Spangenberg, Constance Steinfels, Annabelle Thüring


Chemical Charm
Katie Lenanton, Raphaëlle Mueller and Sarah Sandler
with Honkasalo-Niemi-Virtanen

Gabriele Garavaglia


A Game You Just Can't Win
Francisco Gonzales

Lauren Coullard

Terrasse 2017—
Alfredo Aceto, Virginia Ariu, Diego de Atucha, Josse Bailly, Rose Ballmer, Jacques Bonnard, Paul Bonnet, Fabian Boschung, Noémie Boulon, Francesco Cagnin, Corentin Canesson & Damien Le Dévédec, Loucia Carlier, Christophe de Rohan Chabot, Lorraine Châteaux, Adrien Chevalley, Aisha Christison, Philippe Decrauzat, Nicolas Degrange, Basile Dinbergs, Natacha Donzé, Guillaume Ehinger, Lucas Erin, Agnès Ferla, Pierre Girardin, Gitte Hendrikx, Simone Holliger, Thomas Jeppe, Thomas Koenig, Stéphane Kropf, Elise Lammer, Tristan Lavoyer, Renaud Loda, Francois Mark, Guy Meldem, Guillaume Pilet, Sabrina Röthlisberger, Jessica Russ, Matthias Sohr, Sylvain Croci-Torti, Sébastien Verdon, Paulo Wirz, Alicia Zaton...

Damián Navarro

Romain Hamard

Social Club
Lucas Uhlmann

"I love it like I love things you maybe shouldn’t love"
Aline Acevedo
Arnaud Barras
Flurina Casty
Céline Heini
Hlengiwe Lushaba Madlala
Simon Lyxzen

free time
Demelza Watts

You make the program of life, you make the program
Real Madrid

Terrasse 2013—2017
Mixed media, 300 × 300 × 125 cm, 2017


César Chevalier
Noémie Vulpian

omni / snippet
Jérôme Baccaglio et Guillaume Dénervaud

Henry Codax
Henry Codax

Autonomous Device
Sarah Margnetti

Nicolas Degrange

press the light :
start the show

Antonin Fassio

Scenes from Salad
Jean–Charles Delarue


Death of the Shambls
Alfredo Aceto, Anonymes, Jérôme Baccaglio, Josse Bailly, Emile Barret – Maya Rochat, Céline Burnand, Mathieu Cart, Guillaume Ehinger, Giulia Essyad, Yan-Luc Ming, Emanuele Marcuccio, Sophie Nys, Pierre Vadi, Gaia Vincensini, Jodie Zbinden

Robin Lebey

Guitare, Tanpura et Tabla électronique.
Myriam Stamoulis

62 clous
Jean-Luc Manz

En territoire ennemi (waste session), 2015
284×255 cm
Huile sur toile
Mathieu Dafflon

Concert & Poster
Simon Rivière

Thomas Baud, Giulia Essyad, Thomas Koenig, Thomas Vogel, Laura Zalewski & Guillaume de Nadaï

Silicon Malley
Silicon Malley is an artist-run-space designed since 2015 as a suite of “carte blanche” for artists, musicians, performers, curators, theorists and collectives. Silicon Malley is a white parallelepiped rectangle that has been designed to leave the greatest freedom of action, with regards to the mediation or the broadcast of a public presentation. Silicon Malley has organised about thirty exhibitions, performances, concerts since its inception, with artists from local and international scenes (Jean-Luc Manz, Sarah Margnetti, Henry Codax, Real Madrid, Lauren Coullard, Gabriele Garavaglia, Alienze). Silicon Malley is supported by the Nestlé Foundation for Art for the exhibitions 2020-2021

Team: Grégoire Bolay, Julien Fischer, Arthur Fouray, Frédéric Gabioud, Paul Limoujoux, Baker Wardlaw.


Jonny’s mess divided

Marie Gyger

Jonny’s mess divided: on the work of Marie Gyger
Text: Camilla Paolino

For this is not simply a narrative, but above all primary life that breathes, breathes, breathes. *

On the 20th of November 1759, Etienne was fired, removed from office, for he had dared an outrageous proposal: to tax the rich and privileged in order to restore the kingdom’s finances. He had envisioned an insidious tool for doing so: a tax on external signs of wealth, such as doors and windows. Melting down goldware and silverware was also part of the plan. Big, fat laughs resounded at Court. Big, fat laughs shook the bellies of Power. And so, he got removed and his name turned into a depreciative qualifier, associated with austerity and everything cheap and shabby. Trousers with no pockets for money were named after him, and so were the portraits of the poor, drawn along the outlines of their shadows. Shadows framed to represent bodies. Shadows employed to replace them at last. Their referential value annihilated, the shadows roam unleashed and give way to unadmitted desires, to swearwords the tongues never spoke, to murders the hands did not commit. Like in that tale by Hans Christian Andersen where a man’s shadow gradually takes his place and reduces the man to be its shadow instead. Places swapped, the man and the shadow travel the world together and, on their way, meet a princess who eventually marries the shadow and condemns the man to death. An arbitrary death sentence and the referent is erased, the matter does no longer matter. All that remains is interchangeable profiles with no flesh and no depth, signs exchangeable against each other rather than against the real. And then, signs producing signs without any longer passing through flesh, as by some sort of parthenogenesis or the process of asexual reproduction in which the offspring develops from unfertilized eggs. Yet, here the eggs are fertilized: fertilized and bokanovskified, that is to say multiplied by seventy-two. They bud, proliferate, divide – numerous groups of identical embryos decanting in bottles. Twin after twin, twin after twin, they come – a nightmare. Squealing and chattering they enter. They swarm between the beds, clamber, crawl under, peep through the screens. In a moment, the place is maggoty with them. Interchangeable and disposable units, or signs, or shadows that do no longer chase bodies. The nightmare of swarming indistinguishable sameness. In this engineered conformity, the singularity of the voice and the singularity of words undergo homogenization in order to achieve perfectly efficient exchangeability. The matrix takes the place of the mother in the process of generating language and the latter shrinks. And so do the limits of the worlds that language itself could bring into existence. Jonny’s mess better be set free.

* Clarice Lispector, .As for the Future., 1977 and with the help of M. Atwood, Bifo, A. Huxley, U. Le Guin, E. de Silhouette