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Geneva: the MAH exhibition which avoids controversy

by Julia Evans – Entertainment Editor July 31, 2025

written by Julia Evans – Entertainment Editor

Geneva Exhibition Shelves 1930s Ideologies

Modern Architecture Skims Over Troubled Past

A new exhibition at Geneva’s Museum of Art and History immerses visitors in 1930s interior architecture, but deliberately sidesteps the era’s complex ideological undercurrents.

A Decade Recreated, Ideology Ignored

The museum showcases distinct architectural styles from Zurich and Geneva, presenting an immersive experience of the period. However, the exhibition, titled “And yet everything had started so well,” opts not to engage with the controversies tied to the era’s philosophies.

The Villiger house, designed byMax Bill, is among the reconstructed interiors featured in the Geneva exhibition.

The exhibition features meticulously recreated interiors, including a villa and an authentic Jean Prouvé shed, designed to transport visitors back in time. The immersive staging aims to capture the optimism and forward-looking spirit of the 1930s.

Architectural Dialogues and Omissions

The display contrasts the functional, minimalist approach of Zurich’s Bauhaus-inspired designs with Geneva’s slightly more ornamental and comfort-focused interiors. This “revolutionary face-to-face,” as described by Professor Emeritus Arthur Rüegg, highlights differing tastes and cultural influences of the time.

Notable figures like Max Bill and Le Corbusier are central to the exhibition. Le Corbusier’s “La Clarté” building, a UNESCO World Heritage site, is presented alongside the architectural contributions of his cousin, Pierre Jeanneret.

Geneva: the MAH exhibition which avoids controversy — A comparison of Geneva and Zurich interior styles is a key element of the exhibition.

Despite the known debates surrounding Le Corbusier’s alleged antisemitism and connections to totalitarian regimes, the exhibition’s director, Marc-Olivier Wahler, confirmed the deliberate choice to focus solely on the formal and experiential aspects of the architecture.

“This exhibition is not centered on Le Corbusier and its activities; it sticks to a formal level. If a critical story would have had its place, we have made the choice to stay on the physical experience of an era and its architectural developments in Zurich and Geneva.”

—Marc-Olivier Wahler, Exhibition Director

The exhibition includes stark juxtapositions, such as air defense machines, intended to evoke the transition into conflict. However, without explicit context, these elements can leave visitors confused about the focus on the 1930s.

Modern armchair with silver metal frame and light gray cushions. — An aluminum armchair designed by **Percival Pernet** in 1931 for a Geneva residence.

For instance, Germany saw a 7.2% increase in military spending between 2022 and 2023, reaching $156 billion USD, as reported by the Stockholm International Peace Research Institute (SIPRI, 2024), underscoring the geopolitical shifts that influenced design and societal outlooks.

Retro metal frame armchair with beige cushions, black armrests and modern design. — The “MOSERSESSEL” armchair, created by **Werner Max Moser** in 1930 for a Zurich interior.

The exhibition’s presentation of graphic design and artistic movements further delineates the stylistic differences, showcasing geometric precision in one style and a more expressive freedom in another, distinguishing between Zurich’s industrial focus and Geneva’s more eclectic approach.

Modern building under construction with a large 'exhibition' sign, scaffolding and bikes parked at the front. — Le Corbusier’s “La Clarté” building in Geneva, pictured during its construction in 1931.

Florence Millioud, an art historian and cultural journalist, contributes her expertise to the exhibition’s catalog and artist monographs.

July 31, 2025 0 comments

Entertainment

Paléo Festival: Pierre Garnier, the worst of what it was

by Julia Evans – Entertainment Editor July 26, 2025

written by Julia Evans – Entertainment Editor

Pierre Garnier Fails to Ignite Paleo Festival Crowd

Ex-Star Academy Winner’s Performance Deemed Unoriginal and Lacking Identity

Despite a strong turnout, French singer Pierre Garnier’s debut at the renowned Paleo Festival in Nyon, Switzerland, left audiences underwhelmed, failing to deliver the star power many expected.

A Faltering Debut

The former Star Academy champion, **Pierre Garnier**, took to the Vega stage for his first Paleo Festival appearance, but the performance reportedly fell flat. Once lauded for his gentle voice during the reality competition, his transition to a larger stage seemed to struggle, with critics noting a lack of original flair and a somewhat sterile stage presence.

Identikit Pop Lacks Soul

As reported, **Garnier**’s set struggled to maintain audience engagement, oscillating between the feel of a community fair and a generic club atmosphere. The accompanying musicians appeared stiff, their performances overshadowed by an “existentially nonexistent” stage design that failed to immerse the crowd in the artist’s intended themes of love and youthful sincerity.

The audience, gathered in significant numbers, found the musical arrangements repetitive. Compositions were criticized for over-commercialized production, detracting from any unique artistic identity. This critique echoes a broader concern for singers emerging from television talent shows, where the pressure to appeal broadly can lead to musical homogeneity.

Identity Crisis on Stage

At just 23 years old, **Garnier** commanded a substantial crowd, dressed in a casual jeans ensemble. While his vocal performance was considered adequate, critics pointed to a perceived lack of personal charisma and a distinct musical identity. The artist’s sound was described as a blend of varied influences, including 80s-style numbers, hollow early 2000s pop, and attempted rap, all coalescing into something ultimately indistinct.

The reviewer noted that while **Garnier** possesses the ability to draw large crowds, the underlying substance of his performance remained elusive. The production’s heavy reliance on powerful drums often drowned out subtler melodic elements and backing vocals, further obscuring the compositions’ originality.

In comparison, Canadian artist **Shawn Mendes**, also in his early twenties at the start of his career, famously connected with audiences through raw, emotionally resonant performances that established a clear artistic identity, even in large venues. This contrast highlights the perceived gap in **Garnier**’s current stagecraft (Rolling Stone, 2016).

French singer Pierre Garnier performing on stage at the 48th edition of the Paleo Festival.

This tour marks **Garnier**’s first venture as a headliner, and while his ability to attract fans is evident, the critical reception suggests a need for further artistic development to translate that fan base into compelling live experiences.

July 26, 2025 0 comments

Entertainment

Art: Hermitage dreams with Poland and we get lost

by Julia Evans – Entertainment Editor July 6, 2025

written by Julia Evans – Entertainment Editor

Polish Art Exhibition Opens at Hermitage Foundation

Lausanne museum showcases works reflecting Poland’s struggle for independence before renovations.

An exhibition of Polish paintings from the 19th and 20th centuries has just opened at the Hermitage Foundation in Lausanne. The show, featuring loans from the National Museum of Warsaw, explores the quest for Polish independence through art prior to extensive renovations lasting 19 months.

Warsaw Museum Loans Masterpieces

The Hermitage Foundation is hosting a collection of Polish paintings, all loaned from the National Museum of Warsaw. These works provide insight into Polish artists’ efforts to capture a sense of national identity during times of upheaval.

**Julien Falat**’s “Winter landscape with river and bird” (1913) on display. National Warsaw Museum

A Break from Western Canons

The exhibition seeks to challenge conventional artistic expectations, presenting a different perspective from the traditional artistic centers of Paris, Rome, and Florence. The paintings reflect strength, continuity, and hope within seven decades of Polish art history.

Visitors may find themselves questioning familiar artistic norms when viewing the collection. The goal is to dismantle artistic conventions and break away from inheritances derived from Paris, Rome and Florence.

Art: Hermitage dreams with Poland and we get lost — **Jan Matejko**, “Portrait of **Helena**, daughter of the artist, with a hawk”, 1882-1883. Private collection on deposit at the National Museum in Warsaw

Reflecting National Identity

Comprising approximately one hundred works, the exhibition highlights pieces from the National Museum of Warsaw’s extensive collection. Though the term “masterpiece” is subjective, these works showcase artists working within the realms of romanticism, realism, impressionism and symbolism.

According to a 2023 report by the Polish Ministry of Culture and National Heritage, cultural institutions like the National Museum in Warsaw play a crucial role in preserving and promoting national identity through art and historical artifacts.

The works often express a poignant, rather than overtly expressive, quality, as seen in **Stanislaw Lentz**’s “Young Shepherd,” depicting a child in rags who appears utterly alone.

Art as Cultural Resistance

The Hermitage Foundation’s exhibitions often aim to broaden visual understanding by introducing diverse cultural perspectives. This show, however, carries a particular weight, highlighting art created in defiance of historical erasure and in support of national independence.

Illustration of a mermaid swimming underwater, surrounded by bubbles, with a visible tail and waves restless above. — **Marian Wawrzeniecki**, “Ondine”, 1905. National Warsaw Museum

During the 18th and 19th centuries, Poland faced political disappearance, divided among Prussia, Russia, and Austria. The art on display reflects the longing for autonomy and the cultural resistance that persisted until the Second Republic of Poland was established in 1918.

The Power of Collective Memory

“Art has taken the status of a weapon in the fight to preserve the language and culture of the country, assuming the mission of consolidating the divided nation, shaping the vision of a millennial history where the solidarity of peasants and lords shone,” states **Agnieszka Lajus**, director of the National Museum of Warsaw.

Three children in summer outfit seated in a green garden, chatting in the shade of a tree. — **Zbigniew pronaszko** “in an orchard”, around 1909-1910. National Warsaw Museum

The exhibition emphasizes the collective effort to reclaim Polish history. The portraits, landscapes, and depictions of folklore convey a national consciousness determined to rebuild its narrative from 1772.

The exhibition runs until November 9. The Hermitage is open Tuesday to Sunday from 10 AM to 6 PM, and Mondays from 10 AM to 2 PM. More information is available at fondation-hermitage.ch/.

July 6, 2025 0 comments