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Fragment.in, Renens (2026)

21/04/2026

🇯🇵 Post 1/2. From February 28 to March 15, we undertook a two-week research residency in Sapporo and Tokyo. We were invited and supported by the Sapporo International Art Festival , with additional support from the as part of the Vitality.Swiss program.

In January 2027, we will present a newly commissioned work, inspired by our research in Japan, during the festival as part of Planet Snow at SIAF 2027. This piece will be exhibited inside the Glass Pyramid at Moerenuma Park. The park was designed by Isamu Noguchi as a large-scale sculptural landscape and is one of the key venues of SIAF. (1–2)

From a distance, we were aware of Sapporo’s deep relationship with snow, one of the snowiest cities in the world. We were particularly interested in the infrastructures around it: how snow is managed, how its abundance shapes urban life, and how residents experience it daily. During our preliminary research, we discovered yukizuri, bamboo structures installed on trees to relieve branches from the weight of snow. (3–4)

In Moerenuma Park, we navigated geometric landforms, the iconic glass pyramid, and colorful playgrounds. The park is structured through a strong geometric language, echoing Sapporo itself, a city organized on a grid. We were struck by how snow transforms this geometry: softening edges, blurring lines, reshaping volumes. Each angle becomes a bevel, each line a curve, each cube a small mountain. Snow dissolves boundaries, generating new pathways and connections—allowing movement across obstacles otherwise impassable. (5–8)

However, this abundance also brings challenges. For residents, it requires constant effort to maintain everyday life. Throughout winter, snow is displaced into empty zones, transported into rivers, or melted in underground pits. In some cases, it is preserved as “cold energy,” stored and reused in spring and early summer. (9–12)

We warmly thank the SIAF team for their invitation and support in Sapporo, as well as the Embassy of Switzerland in Japan for their welcome and support in Tokyo.

Special thanks to Asami for your advice and shared moments.

01/04/2026

𝗦𝗔𝗩𝗘 𝗧𝗛𝗘 𝗗𝗔𝗧𝗘: We are pleased to invite you to the opening of 𝘾𝙖𝙪𝙩𝙞𝙤𝙣 𝘽𝙤𝙩 𝘾𝙧𝙤𝙨𝙨𝙞𝙣𝙜, our upcoming solo exhibition at .ch in our hometown Lausanne 𝗼𝗻 𝗝𝘂𝗻𝗲 𝟱 𝗮𝘁 𝟲:𝟬𝟬 𝗣𝗠.

𝘾𝙖𝙪𝙩𝙞𝙤𝙣 𝘽𝙤𝙩 𝘾𝙧𝙤𝙨𝙨𝙞𝙣𝙜 brings together a series of works that reflect, both critically and artistically, on the impact of automation and optimization technologies in our society. Through films, installations, and interactive pieces, the exhibition explores the shifting role of humans, questions of responsibility, and new forms of coexistence in environments increasingly shaped by autonomous systems. It also looks at processes of co-creation between artists and machines, and the new aesthetics that emerge from these hybrid practices.

The exhibition includes works presented in Lausanne for the first time (HIVE Index, in collaboration with , 2025; Your Phone Needs To Cool Down, 2019; Hyperhighways, 2025; Reflective Automation, 2025), alongside two new pieces created especially for the occasion.

Exhibition date: 𝗝𝘂𝗻𝗲 𝟲 𝘁𝗼 𝗝𝘂𝗻𝗲 𝟮𝟴, 𝟮𝟬𝟮𝟲

Saturday & Sunday: 1:00 PM – 5:00 PM and by appointment

With the support of and Pôle de création numérique.

22/03/2026

Behind the scenes of the third film in the 𝙃𝙄𝙑𝙀 𝙄𝙣𝙙𝙚𝙭 series, shot this weekend in Bremen, Germany with 🐝

A collaborative artwork, which will be presented for the first time at .ch in Lausanne as part of our solo show 𝘾𝙖𝙪𝙩𝙞𝙤𝙣 𝘽𝙤𝙩 𝘾𝙧𝙤𝙨𝙨𝙞𝙣𝙜 opening June 5, save the date!

𝙃𝙄𝙑𝙀 𝙄𝙣𝙙𝙚𝙭 unfolds as a series of short films and a sculptural device, critically examining the use of digital technologies in beekeeping. Each film focuses on a different hive typology in Europe (sometimes traditional, sometimes industrial) and its associated narrative. A mechanical hand-like structure seems to close in on the hive, evoking systems of capture and extraction under capitalism. At the tip of each finger, screens inspired by stock market displays speculate on the hive’s value according to opaque and shifting criteria.

𝙃𝙄𝙑𝙀 𝙄𝙣𝙙𝙚𝙭 03
Long before modern wooden boxes, beekeepers across Northern Europe produced honey in straw skeps. Woven from local materials and shaped by open landscapes, will strong regional winds affect this hive’s stock value?

With the support of Pro Helvetia, Ville de Lausanne & Pôle de création numérique

25/01/2026

G80 is on view until 22.03.2026 as part of the collective show “Echoes of Tumult” at as part of the in Berlin. An initiative in collaboration with and

𝗚𝟴𝟬, 𝟮𝟬𝟮𝟯
Interactive installation
200 x 88 x 60 cm
aluminium, plexiglass, painted sliders, computer, electronic components

G80 - in reference to the various intergovernmental forums - is an interactive installation featuring a console with a matrix of 80 motorised sliders which proposes a critical contemporary interpretation of Richard Buckminster Fuller's "World Game". How far are we willing to trust computation in order to optimise global governance?

This edition of G80 is part of the permanent collection and has been kindly lent by the museum.

𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻: Echoes of Tumult brings together works of witnessing and processing violence, systemic failure, and vulnerability, by artists who are in varying proximity to the realities they are examining. Through approaches ranging from speculative and documentary, to sensorial, theatrical, and personal, their works resonate with and against current realities at the nexus of ecological crisis, geopolitics, and war. They deliberately bring us into contact with painful and complex situations, oscillating between conflict and resistance, and at times unexpectedly echoing with solidarity and hope.

𝗣𝗮𝗿𝘁𝗶𝗰𝗶𝗽𝗮𝘁𝗶𝗻𝗴 𝗮𝗿𝘁𝗶𝘀𝘁𝘀: Cathy van Eck, , .grayeb Fragmentin, Hoda Afshar, .vreme.moser Isuru Kumarasinghe, Jaeha Ban & Naomi Rincón Gallardo, Nikita Kadan, Sissel Marie Tonn & Jonathan Reus, Zhanna Kadyrova.

Thanks to everyone involved, we had a blast at the opening 💥

18/01/2026

Images from a non-retained proposal for an “art in architecture” competition we were invited to in Lausanne last year.

As artists, we usually show only finished works, those that make it to exhibitions, collections, or public space. Yet behind each success lies a multitude of unrealized, unselected, or in-progress projects that remain unseen.

Here, we imagined an adapted version of our artwork Endangered Herbarium, featuring (endangered) local plant species from the Lausanne Botanical Garden presented on large, iridescent, SD card–shaped plates. Fixed on metal structures throughout the new district and its park, the images are gradually revealed and altered through exposure to sunlight, or artificial light at night, activated by Rayform technology.

Although we love and have become used to producing large-scale sculptures and installations, art in architecture commissions remain challenging for us. Maybe because our pieces often contain several (conceptual) layers ? Generally, such competitions come with spatial, technical, or thematic constraints that test how far an artwork (or an idea) can or should be adapted to a given context, while still preserving the artist’s overall vision and aesthetic.

What are your experiences with art integrated into architecture or public spaces?

Thanks for the invitation !

1: Video: physical mock-up 1:20 by Fragmentin (3D print, paint, acrylic and iridescent filter)
2-3: Visualisation images realised in collaboration with .ch

18/12/2025

This fall, on the occasion of the exhibition Frequency: Dark and Stormy curated by , on view at until February 1, 2026, we updated the electronics of our piece Displuvium, acquired by HeK in 2019.

Displuvium, created in 2019 in collaboration with Swiss designer is one of our most ambitious artworks in terms of engineering development and prototyping. It features custom-made printed circuit boards developed by our trio.

Displuvium is an artistic research project that examines the human desire to control nature through geo-engineering, focusing on the controversial practice of cloud seeding. It questions the technological, ethical, and political implications of attempting to engineer weather systems in response to climate uncertainty.

Since its creation, the piece has existed in various iterations and has been continuously updated—either to improve its stability and longevity, or because some components have become obsolete over time and needed to be replaced for future versions.

Below is a behind-the-scenes look at the complex process of restoring an existing electronic artwork:

[1] Wiring on one of the panels with water pumps
[2] Wiring of the custom-made printed circuit boards
[3] Motor addressing
[4] Custom-made Arduino shield handling power and signal
[5] PCB design interface
[6–7] Exhibition view of Displuvium at H3K © Franz Wamhof

If you pass by H3K, don’t miss the chance to see the piece and the exhibition!

14/10/2025

🔵 Last Saturday was the finissage of PASSAGE, featuring our sculpture MARKERS. A perfect moment to enjoy the alpine autumn colors and capture some final photos of the artwork before dismounting. Many thanks to everyone who joined us for this special event, including a performance by !

MARKERS was a monumental 17-meter-high sculpture installed on an active high-voltage power line pylon — a first in Europe. Drawing on the aesthetics of the digital world and the algorithmic vision of machines, the work functions as an assisted ready-made, composed of recycled aerial marker balls. It highlights two crucial issues: the need of energy supply and the impact of infrastructure on the natural landscape.

It was located on the Gemmi Pass (Leuk, VS), along a strategic power line — a vital element in Europe’s energy network. These high-voltage pylons appear as disruptive elements in an otherwise romantic and preserved landscape, while echoing the original purpose of a mountain pass: enabling the movement of essential goods.

On one of these pylons, nearly 60 meters high, stands a human figure climbing. Is it a mountaineer — a symbol of Swiss alpine tradition — or a technician at work, representing a profession essential to energy infrastructure? This ambiguity invites viewers to reflect on the role of such structures in our daily lives, and on their integration into the landscape.

The work is extended through an augmented reality app on site: other blue giant walkers — symbolizing the flow of electricity — come to life and hike toward Kandersteg, accompanied by a poetic-techno audio piece

PASSAGE was curated by .1961 and in collaboration with the Cultural Commission of the and the support of

Including work by: Christophe Burgess, Maëlle Cornut, Fragmentin, Séverin Guelpa, Bob Gramsma, Christina Hemauer et Roman Keller, Lang / Baumann, Josef Loretan, Klara Schilliger et Valerian Maly, Batia Suter, Lena Maria Thüring, Sibylla Walpen, Sislej Xhafa

readymade

09/10/2025

After being shown at in Paris, “Global Wiring” continues its journey through Europe and is now presented as part of the inaugural exhibition at the new Science & Art Center VISTA in Vienna, alongside works by artists such as .studio The exhibition is curated by

In this context, Fragmentin also gave a talk during the opening festival last weekend about the inspiration, research process, and production behind the sculpture.

Global Wiring is a sculpture made of recycled glass representing a melting ice core that reveals within its body the remains of our contemporary underground infrastructures (water pipes, electricity wires or internet cables). The original version of the sculpture is permanently installed in the Park in Verbier.

In 200 years’ time, will there be any traces left for future generations to remember our digital era ? And if so, in what form?

The title "Global Wiring" is a neologism derived from the combination of "Global warming" and "wiring." It expresses the tension that exists between climate change and the expansion of infrastructures, particularly underground ones.

Glassproduction in collaboration with

Photos: kunstdokumentation-ISTA, Fragmentin and Luke Evan

05/10/2025

Fragmentin is launching its first collaboration with .art an art space dedicated to showcasing immersive art experiences by artists such as and among others.

For Superblue, Fragmentin has developed a special edition of the generative artwork burningcollection.tv, created in collaboration with artist Lauren Huret () in 2020. This new limited edition reflects on Miami’s entanglement with the pressing realities of climate change—its coral reefs, hurricanes or rising waters. Each chimeric image is composed from video fragments gathered online by a custom-built program created by the artists.

burningcollection.tv is a generative web-based artwork that questions the overwhelming flood of digital images produced and seen online, and their environmental and cultural impact. Continuously sourcing and combining the most-watched videos on specific climate change topics from a major online platform, it weaves them into a constantly shifting, visual and sonic landscape that mirrors the collective consciousness of our hyperconnected world.

The result is an exclusive series of 24 unique images - each derived from moments captured within the generated video - printed on reflective aluminum, which will be soon available for purchase at the Superblue shop.

Thanks and Alex Isben for making it happen.

18/08/2025

Discover an excerpt of the augmented reality experience accompanying our sculpture MARKERS on view until 11 October as part of the exhibition PASSAGE at Col de la Gemmi in the Swiss Alps.

Through their phone, visitors can observe giant blue walkers emerge in the surrounding natural landscape. They echo the 17-meter sculptural figure mounted nearby on a high-voltage power line. Both draw on the aesthetics of the digital world and the algorithmic vision of machines, where the human body is reduced to rounded markers and sticks to better be analyzed and optimized.

These giant walkers precisely moving beneath the power lines symbolize the invisible flow of electricity. Their choreography was created from hiking performances by the three members of fragmentin, filmed with two cameras, then edited through web programming.

The experience is accompanied by an original French audio piece: a poetic–techno slam created by fragmentin and read by a machine. It intertwines reflections on the crucial role of the power line within the Alpine region with critical perspectives on our ever-growing demand for energy — driven in part by the power-hungry needs of today’s technologies, including AI — while weaving in contextual and historical information about the line itself.

➡️ The web app with the full text is available here: markers.fragment.in (link in bio).

The creation of the web app was made possible thanks to the support of the program “Mind the Gap” from the Pôle de Création Numérique.

.1961

13/07/2025

Fragmentin is part of the exhibition Jouer collectif! at curated by which opened on Saturday, July 5 and runs until October 12, 2025.

For the occasion, we’re presenting three works that embody our way of working together as a trio and collaborating with others:

• "Displuvium" from the permanent collection, created in collaboration with designer — a piece exploring geoengineering and historical cloud seeding events (img 1)

• A triptych from "Hyperhighways", originally shown at this past winter — a series of reimagined highway signs that envision a near-future marked by tension between autonomous vehicles and human-driven ones (img 2)

• An excerpt from "Hive INDEX", a video from our ongoing research project with Apian — investigating the potential negative impacts of emerging technologies on bees and ecosystems (img 3)

What happens when artists choose to create together rather than alone? The exhibition Jouer collectif! sheds light on collaborative dynamics through the work of ten artist collectives active in Switzerland. By joining forces, these creators reinvent production methods, spark dialogue, and joyfully intertwine ideas and disciplines.

An interview with each collective can be accessed on-site through a QR code

Featuring: .facteur Fragmentin, Institut créole, .love Post Stirnimann – Stojanovic

Fragment.in

21/04/2026

01/04/2026

22/03/2026

25/01/2026

18/01/2026

18/12/2025

14/10/2025

09/10/2025

05/10/2025

18/08/2025

13/07/2025

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