9 artists or artist groups from Switzerland and France

Sylvie Boisseau & Frank Westermeyer
Sylvie Boisseau *1970 Paris; Frank Westermeyer *1971 Essen, lives in Geneva and Berlin
filmerei.de

Gregory Buchert *1983 Haguenau, lives in Lille
galeriepoggi.com

Dimension Émotionnelle, 2012 founded in France by 4 persons  
dimensionemotionnelle.com

Paul Heintz *1989 Saint-Avold, lives in Paris
paulheintz.fr, vimeo.com

Luzia Hürzeler *1976 Solothurn, lives in Genf
luziahurzeler.ch

Frantiček Klossner *1960 Grosshöchstetten, lives in Bern
franticek.com

Theres Liechti *1968 Zürich, lives in Winterthur
theresliechti.ch

Sebastian Mundwiler *1978 Arlesheim, lives in Basel
sebastianmundwiler.ch

Elodie Pong *1966 Boston, lives in Zürich
sikart.ch

Curatorial Team 2019

Andrea Domesle *Heilbronn, lives in Basel and in Lower Austria
wikipedia.org

Sophie Kauffenstein *1971, lives in Weinbourg and works in Strasbourg

Both art historians give their art projects a social dimension. Sophie Kauffenstein, director of Accélérateur de particules, Strasbourg, and Andrea Domesle, then director of the Kunsthalle Palazzo, Liestal, met in 2009 on the occasion of the REGIONALE Network of Art Institutions in the border triangle Baden-Württemberg - Alsace - Northern Switzerland. They initiated a further, intensive, transnational collaboration: "Kompetenzverschiebungen / Déplacement de Compétences" was a multi-part experimental exchange, research and exhibition project that took place annually from 2010 to 2012. The Kunstverein Freiburg and its former director Caroline Käding joined the project in 2012. From 2013 to 2015 the project "Grenzgänger / Passe frontières", conceived by the three curators, for 3 artists, 3 partners and 3 countries, followed.
Déplacement de Compétences, grenzgaengerproject.net
Andrea Domesle thus continued her curatorial experiments conducted together with Jessica Beebone under the group name ROOMER's SIGHT 2004 to 2008 in Germany and Austria. The aim was to test new approaches in the way contemporary art is exhibited, communicated and received; new forms of co-operation with artists had been simultaneously explored. Institutional methods of presenting and conveying art had been questioned.