Swiss artist Sandra Knecht‘s current solo exhibition “Home is a Foreign Place” at the KBH.G Foundation is engaging audiences with its exploration of home, queerness, and the essence of life itself. The exhibition breathes life into the concept of social sculpture, a theory famously proposed by Joseph Beuys, by intertwining it with Knecht’s personal narratives and artifacts from her daily life.
Knecht’s venture into the arts took an unconventional route; she embraced her artistic calling at 56, after a diverse career ranging from social work to DJing in Berlin’s club scene during the 1990s. Today, she operates out of her home and studio in Buus, near Basel, a residence boldly marked by a gay pride flag, signaling a queer safe space in an otherwise conservative rural setting. The home she shares with her girlfriend and a variety of animals, including the all-black rooster named Blacky, epitomizes her life-as-art philosophy, with each element contributing to the tableau she lives and creates in.
The exhibition itself serves as a bridge between Knecht’s personal and artistic worlds. It defies traditional artistic categorization, blending tangible objects with a broader philosophical context. This approach mirrors the ethos of the thirteenth edition of Documenta, a prestigious contemporary art exhibition held every five years in Kassel, Germany. The 2012 iteration, curated by Carolyn Christov-Bakargiev, emphasized the importance of non-human perspectives and holistic views of art, challenging traditional anthropocentric narratives.
Moreover, Knecht confronts and redefines the German concept of “Heimat,” traditionally usurped by right-wing factions in Europe to foster exclusion. Her interpretation is radically inclusive, weaving her queer identity into this notion of home and belonging, challenging the conservative undertones often associated with it.
Spanning 500 square meters, the exhibition is a collection of interconnected stories from Knecht’s life. Childhood drawings, restored furniture, and thought-provoking displays like cat carcasses and a millennium-old egg share space with modern vanitas symbols such as Gucci loafers. The inclusion of a sculpture by Louise Bourgeois underscores a theme of communal and collaborative art practices.
The exhibition, which will run until April 27, 2025, also features an interactive element, a soundtrack that visitors can engage with, reflecting Knecht’s diverse influences. Complementing the physical exhibition is a catalog, enriched with an interview by renowned curator Hans Ulrich Obrist, providing deeper insights into Knecht’s expansive artistic universe.
Written by Hans Krestel
