Basel, Switzerland – A quiet rebellion is underway in the art world, one that challenges the traditional boundaries of still life painting. At the Ausstellungsraum Klingental, the exhibition “Still leben, laut malen” (“Still Life, Loud Painting”) isn’t simply displaying arrangements of fruit or flowers. It’s using the historically “lower” genre as a platform for pointed political commentary, personal expression, and a re-evaluation of what painting can be in the 21st century. The show, running until April 26, 2026, features the work of 19 artists and 75 pieces, all exploring the potential for volume and impact within a traditionally quiet form.
Curated by artist Melissa A. Torres and organized with Jan Kiefer, “Still leben, laut malen” asks a fundamental question: what can still be done with a medium often perceived as conservative? The answer, as evidenced by the diverse works on display, is a great deal. From subtly subversive pieces to overtly political statements, the exhibition demonstrates that still life painting can be anything but silent. The exhibition’s core concept centers on elevating the artwork itself, shifting focus away from the artist’s persona – a deliberate counterpoint to the often personality-driven world of social media.
Reclaiming a “Lower” Genre
The historical context is crucial. As the exhibition materials note, the French Academy once dismissed still life as a lesser art form. “Still life was often seen as a training ground for artists, a way to practice technique before moving on to more ‘key’ subjects like history painting,” explains Torres. “We’re taking that perceived limitation and turning it into a strength.” The exhibition isn’t about replicating classical still lifes; it’s about dismantling the hierarchy and demonstrating the power of focused observation and expressive brushwork.
This re-evaluation manifests in a wide range of styles, and approaches. Charles Benjamin’s series, “Adolf Hitler Ruining the View,” is a particularly striking example of subversive commentary. The series, featuring oil paintings measuring 23x29cm, depicts the infamous dictator intruding upon idyllic landscapes, a jarring juxtaposition that forces viewers to confront uncomfortable truths. Torres herself contributes works that directly address contemporary politics, featuring portraits of well-known politicians rendered in the traditional still life format – a visual statement that challenges the power dynamics at play. Alongside these contemporary interventions, the exhibition also includes works that nod to the past, such as a formally experimental floral still life by Marie Lotz (Basel, 1877), demonstrating a lineage of innovation within the genre.
Beyond the Image: A Focus on the Work
Kiefer emphasizes that the exhibition’s intention extends beyond simply showcasing provocative imagery. “’Stillleben laut malen’ also means putting the work back in the foreground, not the person behind it,” he explains. In an era dominated by social media and artist branding, this is a deliberate act of resistance. “Often, we know the artist better than their work. This exhibition flips that perspective.” The curators aimed to create a space where viewers could engage with the paintings on their own terms, free from preconceived notions about the artist’s identity or intentions.
The works themselves are emotionally resonant and accessible, yet far from simplistic. They invite contemplation, introspection, and a willingness to question established norms. The exhibition deliberately avoids adhering to current trends or theoretical constraints, instead prioritizing intuition and a direct engagement with the materiality of paint. “I hope that people will trust their own imaginations again, instead of constantly searching for ‘the truth’,” says Torres. The exhibition’s success lies in its ability to create a space for open-ended interpretation and individual connection.
A Community of Voices
“Still leben, laut malen” isn’t simply a collection of individual artworks; it’s a testament to the power of community. The exhibition brings together a diverse group of artists, fostering a dialogue that extends beyond the confines of the gallery walls. Accompanying the exhibition are a series of lectures, screenings, and a communal meal planned for the finissage on April 26th at the Ausstellungsraum Klingental. These events are designed to further engage audiences and create a space for shared experience.
The exhibition also features works from the antifascist artist collective “Gegen Nazis,” alongside pieces by Viktor Koral and Marie Lotz, creating a dynamic interplay between historical and contemporary perspectives. This juxtaposition highlights the enduring relevance of still life as a medium for social and political commentary.
“Still leben, laut malen” offers a compelling alternative to the prompt-paced, image-saturated world of social media. It’s an invitation to slow down, to look closely, and to engage with art on a deeper level. The exhibition’s final day is April 26, 2026, offering a limited window to experience this thought-provoking collection. Visitors are encouraged to check the Ausstellungsraum Klingental website for details on the finissage event and any potential schedule changes.
What do you think about the resurgence of still life painting as a vehicle for political and personal expression? Share your thoughts in the comments below.
