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«Fragments in Order» with Judit Kis, Klara Kuchta and Kazimir Malevich
Exhibition
Fragments in Order
11 Apr 2025 – 7 Jun 2025
Regular hours
- Friday
- 09:00 – 19:00
- Saturday
- 10:00 – 18:00
- Monday
- 09:00 – 19:00
- Tuesday
- 09:00 – 19:00
- Wednesday
- 09:00 – 19:00
- Thursday
- 09:00 – 20:00
Free admission
Address
- 5 Rämistrasse
- Zürich
Zürich - 8001
- Switzerland
Travel Information
- Bellevue
- Stadelhofen Station
A group show exploring identity, memory, and materiality through the works of Judit Kis, Klára Kuchta and Kazimir Malevich at Pascal Robert Gallery, Zurich.
About
Pascal Robert Gallery proudly presents «Fragments in Order», an exhibition exploring layered narratives of identity, transformation, and perception through painting, sculpture, and installation. The show brings together works by Judit Kis (HU/DE) and Klára Kuchta (CH/HU) along a with a work by Kazimir Malevich.
Judit Kis
Known for her brick-shaped sculptures inscribed with single words — such as Agape, Empathy, and Selflessness — Judit Kis transforms raw material into emotional infrastructure. Her installations operate at the crossroads of personal healing and collective experience. Often made from ceramics, stone, and semi-precious minerals, these tactile works are invitations to consider resilience, vulnerability, and the often-silent labor of introspection. With roots in Budapest and Berlin, Kis is a key voice in contemporary explorations of mental health and art as a relational practice. The central piece, Wholeness in Pieces (2025), is a sprawling installation composed of engraved bricks made from diverse materials — each functioning as a metaphor for emotional and psychological states. Her work transcends objecthood and creates a space for embodied reflection and intimate dialogue.
Klára Kuchta
Since the 1970s, Klára Kuchta has pursued a multidisciplinary practice addressing themes of femininity, cultural norms, and the politics of appearance. With a background in tapestry, light installation, video, and photography, she has carved out a distinctive legacy in European conceptual and feminist art. Works like To Be Blonde is Perfection (1980) and Interconnection Mini (1988) unravel how beauty ideals shape identity. Her critical engagement with the fetishization of hair, domestic symbolism, and light-reflecting materials draws viewers into psychological territories between myth and modernity. Having exhibited at the Centre Pompidou, MAMCO Geneva, and the Ludwig Museum, Kuchta continues to challenge established representations of womanhood with nuanced irony and enduring urgency.
