Aaaand… Scene / Und… Szene

The international group exhibition Aaaand… Scene / Und… Szene marks the beginning of a new programme at Shedhalle Zürich. Borrowing its title from the moment on a film set when a director calls the end of a take in English or the beginning of one in German, the exhibition treats the exhibition space itself as a scene — a stage on which objects, bodies, and narratives come into relation.

At the centre of the exhibition is the introduction of Re-Props — artistic contributions that function simultaneously as artworks and exhibition infrastructure. The participating artists develop modular works — seating structures, display systems, platforms, partitions, and environments — that shape the spatial conditions of the exhibition while remaining open to transformation in future shows. The term is borrowed from theatre and film production, where it refers to reusable stage elements that reappear across different scenes. At Shedhalle, Re-Props are designed to do the same: to travel through the programme, adapting to new contexts and configurations over the coming years.

Rather than treating exhibition architecture as neutral support, these works make visible what usually stays behind the scenes — the structures that hold an exhibition together and determine how it is experienced. An artist’s bench is also a sculpture. A partition wall is also an artwork. The infrastructure of the show is the show.

Aaaand… Scene / Und… Szene therefore acts less as a finished display than as a first staging — the beginning of a long-term experiment that will continue to evolve throughout Shedhalle’s programme.

Artists: Abdul Sharif Baruwa, Monster Chetwynd, Céline Condorelli, Katrina Daschner, Liam Gillick, Martins Kohout, Martin Maeller, Sarah Margnetti, Oz Oderbolz, Day Shift Office, Toni Schmale, Natália Sýkorová & Paula Gogola
Curated by: Jen Kratochvil & Laura Amann Marín
Curatorial assistant: Vanessa Bosch

Katrina Daschner: 
For the exhibition AAAND SCENE / UND SZENE… three lake-like settings spread across the space, each built around an organically shaped reflective dance surface, recycled from a theatre production and holding the memory of endless hours of rehearsing and performing. Each lake is divided into two: either by a curtain holding screens or a curtain by itself. Surrounding the lakes stand Bewitched Antlers (2026) – branches cast in aluminium, named after celestial bodies, petrified remnants of the natural world left in a particular kind of limbo, holding cascades of yarn and coloured glass that catch and scatter light across the space. The curtains – Las Vegas (2026), in nightblue-silver or black-silver foil – complete the nocturnal atmosphere.
supported by Phileas.