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On the weekend before Art Basel, Zurich is transformed into a city that is buzzing with creativity, bringing together art lovers, collectors and experts from all over the world. To mark the ninth edition of Zurich Art Weekend, the Julius Baer Art Collection team is collaborating with the event to present two videos of studio visits profiling artists whose works feature in the Collection. Parallel to this, the two artists, Marc Bauer (b. 1975) and Katja Schenker (b. 1968), are also holding solo exhibitions at Zurich Art Weekend. These studio visits offer an intimate glimpse into their creative worlds, revealing their inspirations and practices while also reflecting our commitment to fostering lasting relationships with artists.

Marc Bauer experimented with various media in his early oeuvre, with drawing ultimately emerging as his primary focus. Images set against a backdrop of political, historical, social or cultural events play a central role in his works. The artist sources his motifs from his memories, from archives, photographs of historical events, and the internet, then transforms them into something new. This raises the question of whether images are indeed objective. In reinterpreting existing images, Marc Bauer explores how past events and constantly shifting power structures affect the present day. It was back in the mid-2000s that the Art Committee acquired the Zurich-based artist’s first series of black-and-white drawings, ‘Eine kleine Geschichte der Infamie II’, for the Collection. Further works followed, including ‘The Default Brain, Les Grands Ensembles’ (2022), in which Marc Bauer creates a narrative of the subconscious.

Katja Schenker focuses her artistic practice on live performances, drawings, sculptures and installations. Her works usually capture the spatial and temporal dimensions of physical actions. Schenker uses this corporeal activity to explore the limits of the body and investigate both the space she occupies and the space she creates. Objects or materials such as concrete, textiles or pigments are transformed into new states of being through pressure, friction or movement. This process is often continued across different media, as in the painting ‘Could Be You, Still (5682)’ (2025) from the Julius Baer Art Collection; the work is characterised by its dynamic lines in a striking vermilion red and features the imprint of the artist’s body at its centre, thereby immortalising bodily movement as a drawing on canvas.