PARIS.- The Centre culturel suisse in Paris presents a compelling triad of exhibitions that traverse the boundaries of memory, elemental transformation, and feminist mythology. Featuring the first French monographic presentations of Akosua Viktoria Adu-Sanyah and Mai-Thu Perret, alongside an evocative survey of Ingeborg Lüscher, the programming explores the intersection of the personal and the cosmic. From Adu-Sanyah’s poignant integration of generative technology and clinical archives to Lüscher’s lifelong obsession with the unruly vitality of fire, and Perret’s construction of dissident, maternal cosmogonies, these exhibitions collectively examine how material—whether ash, glass, or data—can be used to hold space for the absent and the divine alike.

Akosua Viktoria Adu-Sanyah: no flowers

The first monographic exhibition in France of Akosua Viktoria Adu-Sanyah (born in 1990, lives and works in Zurich), no flowers unfolds around absence, mourning, and the violence embedded in medical and technological systems. The exhibition brings together a central piece from the body of work DELIRIUM, initiated in 2022, and the chapter no flowers, developed around the artist’s book of the same title, copublished with Centre culturel suisse. If DELIRIUM marked a moment of destabilization—where the portrait of the artist’s father entered a generative process of distortion—no flowers shifts toward an act of holding. Camera-exposed photographs of dried bouquets form the material basis of the project. In 2022, a limited number of these images were processed through an image-to-image generative system without text prompts, producing visual mutations that were subsequently translated back into negatives and printed in the darkroom. Interspersed throughout are fragments from the medical history and clinical synopsis of the artist’s father, authored by his final treating physician in Accra. Rendered as images through contact-printing, this clinical language—precise and procedural—reappears as physical matter. The repetition of flowers, sometimes intact, sometimes altered, accumulates around the figure of the father as a belated gesture: not closure, but attendance. Between destabilization and insistence, no flowers proposes a space in which image becomes a form of holding—where disappearance is resisted not through explanation, but through material return.

Ingeborg Lüscher: Flammes

In retracing the practice of Ingeborg Lüscher (born in Germany in 1936, lives and works in Ticino), the exhibition Flammes (Flames) reveals the artist’s relationship with fire, which she has been developing since her earliest experiments up to the present day. From sulfur to ashes, from embers to wreaths of smoke, the selected works explore the vitality of fire and its creative, unruly force. After initially working as an actress, Ingeborg Lüscher embarked in the late 1960s on a course of sculptural, pictorial, and performative research that has never ceased to preoccupy her. She also pursues a unique photographic practice, documenting her close family and friends, her encounters, and the landscapes she traverses on voyages or in her daily life. Since 1975, the artist has also composed conceptual and autobiographic works revolving around chance, love, and dreams. Flammes investigates the vibrancy of a rich artistic career sustained by a continual quest for transformation, as well as by a profound interest in the cyclical processes of destruction and renewal, of material and bodies, of absence and rebirth.

Mai-Thu Perret: Othermothers

Othermothers, the first institutional exhibition in Paris of Mai-Thu Perret (born in 1976, lives and works in Geneva), transports us into a cosmic space-time continuum. A matric universe populated by powerful divinities and mischievous creatures conjures a chimerical history of representation, introducing a new genealogy of goddesses. Moving from sound to ceramics, from bronze to neon, from tapestry to blown glass, the artist hybridizes materials and mythologies. Attesting a perspective both critical and spiritual, Othermothers summons new dissident cosmogonies and the possibility of a contemporary chronicle that is mutant and sororal.