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OPEN SOURCE - Mystical Geometries, 2026

Die Ausstellung Botanical Memories: On Healing and Care entfaltet sich im Alten und Neuen Botanischen Garten Zürich in Zusammenarbeit mit der Universität Zürich. Sie widmet sich lokalen Traditionen des Heilpflanzenwissens und untersucht, wie Heilung, Zuwendung und Erinnerung miteinander verwoben sind.


PERFORMANCE:

MYSTICAL GEOMETRIES am 21.06.2026 im Altern Botanischen Garten

Ausstellungsdaten Alter Botanischer Garten Zürich: 28.05.2026 – 21.06.2026


(EN)
The exhibition Botanical Memories: On Healing and Care unfolds across the Old and New Botanical Gardens in Zurich in collaboration with the University of Zurich. It explores local traditions of medicinal plant knowledge and considers how healing, care, and memory are intertwined.


PERFORMANCE:

MYSTICAL GEOMETRIES on 21.06.2026 at Old Botanical Garden Zürich

Exhibition dates Old Botanical Garden Zürich : 28.05.2026 - 21.06.2026















Fotos: Lisa Biedlingmaier

Linda Jensen (Last Tango):

Lisa Biedlingmaier has long been concerned with bodily, psychic, and political subjects, be it the sub/conscious, belonging, love, death, and spirituality.Linda Jensen (Last Tango):

Lisa Biedlingmaier has long been concerned with bodily, psychic, and political subjects, be it the sub/conscious, belonging, love, death, and spirituality.




At the very end of the room is Lisa Biedlingmaier’s video work MANA (2022). The title refers to the Hawaiian name of life force and is an energy healing code. We enter a mystical sea underworld, full of light and movement, and replete with macramé things. Often considered to be a treacherous place, this sea floor is peaceful and poetic. Filmed in a cenote (a natural deep-water well) in Yucatan in Mexico, these sites were once considered to be portals to the Mayan underworld. Biedlingmaier plays with our perception. The viewer might perceive the inanimate objects as living creatures. (A phenomena called Pareidolia.) This special turn of mind transforms sailing rope macramé into seahorses. Or one might consider the formations to be ancient artefacts. Their graceful gravitational dance and shapes trigger connections to the archaic, perhaps to a collective shared memory. Psychologically and mythically, water is the most common symbol for the unconscious mind. It is the realm of feelings, dreams and creation. The artist invites the viewer to delve within. It is a consideration on love, one beyond a tunnel-vision perspective and one that celebrates intricacy, tolerance and sentience.






At the very end of the room is Lisa Biedlingmaier’s video work MANA (2022). The title refers to the Hawaiian name of life force and is an energy healing code. We enter a mystical sea underworld, full of light and movement, and replete with macramé things. Often considered to be a treacherous place, this sea floor is peaceful and poetic. Filmed in a cenote (a natural deep-water well) in Yucatan in Mexico, these sites were once considered to be portals to the Mayan underworld. Biedlingmaier plays with our perception. The viewer might perceive the inanimate objects as living creatures. (A phenomena called Pareidolia.) This special turn of mind transforms sailing rope macramé into seahorses. Or one might consider the formations to be ancient artefacts. Their graceful gravitational dance and shapes trigger connections to the archaic, perhaps to a collective shared memory. Psychologically and mythically, water is the most common symbol for the unconscious mind. It is the realm of feelings, dreams and creation. The artist invites the viewer to delve within. It is a consideration on love, one beyond a tunnel-vision perspective and one that celebrates intricacy, tolerance and sentience.