Rindermarkt 23

8001 Zürich

Cultural space
Unterstützt durch / supported by enSoie
You can find the programme below, via Newsletter or Instagram.

Rindermarkt Logo 23

Morgen tut es nicht mehr weh

Valentina Vujović
Jelena Vujović
18. 6.–10. 7. 2021


Ich versuch diese Konstrukte zu verstehen, die wir uns gebaut haben, doch scheitere ich immer öfters daran. Ich wünschte, du hättest auch deine Mühe damit. Doch während ich langsam durch dieses Gerüst falle, ohne mich daran halten zu wollen, sehe ich, wie du Teil dieses Gerüstes geworden bist. Willst du mit mir fallen? Wirst du jemals mit mir fallen?

Morgen tut es nicht mehr weh.

Valentina Vujović, 1983 in Zürich geboren und aufgewachsen. Nach der Lehre zur Schneiderin verbringt sie zwei Jahre in England, bevor sie mit ihrem Studium der bildenden Kunst an der F&F Schule für Kunst und Design beginnt. Nach dem Studium arbeitet sie sieben Jahre als Regieassistentin & Kostümdesignerin im Film und ist seit 18 Jahren als Verkäuferin bei enSoie tätig.

Jelena Vujović, 1992 in Zürich geboren und aufgewachsen. Nach abgebrochenem Sinologie-Studium studiert sie von 2015–2020 Film an der Zürcher Hochschule der Künste. Das Herbstsemester 2017​/2018 verbringt sie an der Fakultät für dramatische Künste in Belgrad, Serbien. Sie arbeitet als Drehbuchautorin, Regisseurin und manchmal Editorin. 

Vujović enSoie Rindermarkt 23


by Alba Sulser

Exhibition: 7. 6.–13. 6. 2021 from 14 to 19 Uhr
Opening: 7. 6. 2021 from 18 Uhr

aelbags is a project by Alba Sulser that came into being during the corona quarantine in 2020, initially out of boredom caused by the pandemic and later out of the need to share the sentimental value of beloved old clothes with friends. In the meantime, aelbags has grown into a small label that is celebrating its fist anniversary in the form of a showroom in Rindermarkt.

an aelbag is reminiscent of the dior saddle bag, but also of the fanny packs that teenagers take to open air festivals and grandmothers wear when hiking. The shape of an aelbag is simple, while the colours and materials of the fabrics vary with each bag. It is precisely this balance between continuity and uniqueness of each individual bag that makes the label stand out. The bags offer space for many things: small or large books, tampons, cigarettes, bathing things, mobile phone, wallet, a second pair of shoes, a Coke can, a voting slip, sunglasses, sunscreen, lipstick, masks, disinfectant, a notebook, a bouquet of  flowers ... an aelbag can be anything from a travel bag for a short city trip to a handy diaper bag.

aelbags does not aspire to become a profitmaking company, but rather wants to appeal to sustainable, alternative consumption in a world of abundance, mass production, wear and tear of materials and exploitation of labour. The question arises to what extent ethical consumption is possible under capitalism. aelbags dares to try to answer this question: at home in Hottingen, Alba, together with her mom, sews bag after bag. All aelbags are made from materials that are supposedly no longer useful. In the beginning, Alba cut up half of her wardrobe, later acquaintances and friends put old fabric scraps and pieces of clothing in her letterbox, so that new things can be created from old. This ensures a fair and sustainable production. Everything is handmade except for the logo, which is made in a German, oeko certified textile factory.

So the concept of aelbags is based on the idea of recycling and ensuring a certain accessibility for all. With impressive ease, Alba has succeeded in creating a label with that positions itself in a socially critical way, wants to normalise the consumption of used materials and conveys a feeling of being bad n’boujee.

‒ Sidonia Gnahoua

aelbags Rindermarkt 23

Andreas Lumineau

Fingerprints 2
28. 5.–5. 6. 2021

28. 5.–5. 6. 2021
Open daily from 14 bis 18 Uhr

42 cm × 59,4 cm
Edition of 30
CHF 25.-

His heart and this sensibility draw him irresistibly toward the city’s bright lights, beautiful women, fashion, luxury, its play of dazzling surfaces and radiant scenes; meanwhile his marxist conscience wrenches him insistently away from these temptations, instructs him that this whole glittering world is decadent, hollow, vicious, spiritually empty, oppressive to the proletariat, condemned by history.[1]

The solo exhibition Fingerprints 2 is an exceptional starting point to write about Andreas Lumineau's work. Andreas is my brother and I am writing this text from the perspective of someone who appreciates Andreas' work, but also has a personal relationship with the artist, which hopefully makes for an interesting perspective.

In the works, we find ephemeral things transposed into a fixed state. As if the pause button is pressed during a film, resulting in an unpredictable composition of images. However, movement is omnipresent. Whether it is a single image, a still life, a combination of three or more images: everything moves. In the process, Andreas becomes one with normal life, directing attention to things that I would probably never have noticed. I think that Andreas' images also show what images normally don't show. It is not about the strangeness of everyday life but about everyday life, alone, in all its states. Some of his works cannot be described exhaustively. Not everything is recognisable. There are dark spots, shadowy areas, vanishing lines, blurs etc. The camera as a tool to protocol the poetry of everyday life. Capturing moments that interrupt for a moment the barbarity of all this passing each other by (I owe this thought to Helene Hegemann[2]). Technology takes a subordinate position here (what do I care about ISO scales or focusing). Passengers on a bus ride, a cloud formation, moving people, earth surfaces and facades reshaped by humans, an empty glass placed on a table, a sunset. The works are characterised out of Andreas' fascination of his environment and our human nature. By the intense and unpredictable weather fluctuations. The random choreographies of anonymous individuals crossing each other indifferently. In his works, all the values of our civilization come together and are questioned.

For his exhibition at Helmhaus Zürich 2020 as well as this show at Rindermarkt 23, Andreas’ images tended to work within the form of the triptych. In the current case, they are much smaller and in the format of postcards. It is the juxtaposition of three depictions that corre-spond to different units of action, i.e. that are separated in time or space. As office space and day sky clash with each other across the triptych, Andreas marries deliberate approach with intuition. The scenarios hold defined narratives but they immediately disperse. The narratives meet to better disperse themselves, in lightness. To return to the book quoted at the beginning: All that is solid melts into air.[3]

‒ Pierre Lumineau

[1] Marshall Berman über Walter Benjamin in: Marshall Berman, All That Is Solid Melts into Air, S. 146, Verso, 2010
[2] Helene Hegemann, Bungalow, S. 257, Hanser Berlin, 2018.
[3] Der Titel des Buches ist dem Manifest der Kommunistischen Partei von Karl Marx und Friedrich En-gels entnommen.

June Fischer

Where Pikachu meets Seabunny
22. 4.–22. 5. 2021

Opening: 22. 4. 2021, 16.00

Opening hours:
Thursday to Saturday: 14.00–19.00
Sunday: 15.00–18.00
Or by appointment

Available in two versions
Print on paper with additional screen print by hand 
42 × 59,4 cm
Edition of 70 (each)
Signed by the artist

Title font: Sean Tien

In June Fischer’s first solo show ‘Where Pikachu meets Seabunny’ she presents a new body of ceramic and resin sculptures that continue her ongoing exploration of the marine biosphere and its inhabitants. The exhibition centers around nudibranchs, soft-bodied animals, sometimes more commonly known as sea slugs. Ranging in size from 4mm to 60cm they are difficult creatures for divers to spot and it is believed that only around half of the existing species have been identified so far. In 2018, during a student exchange in Japan, when the Twittersphere was abuzz with sea slugs particularly two species called Jorunna Funebris and Thecacera Pacifica – the former resembling a fluffy Seabunny and latter a Pokémon character Pikachu – Fischer became interested in exploring these creatures further.

The scientific name, nudibranchia, means naked gills. Naked because unlike their fellow molluscs, land snails, nudibranchs lack a shell. The feathery gills and horns that most sea slugs wear on their backs are used to breathe. These beautiful and ornate organs give each slug a unique look. However, don’t be fooled by their sweet appearance. Being soft bodied, nudibranchs have come up with impressive modes of self-defense to protect themselves from predators. Some nudibranch species harbor stinging cells and toxic secretions, which are released through skin cells when they are in danger. Their so-called ‘bunny ears’ (lat. Rhinophores) are scent detectors that help them perceive chemicals in the waters, find food and mates, as well as sense changes in water pressure and vibrations, helping them navigate their passage across the ocean floor.

Fischer’s most recent body of works, created for this exhibition, entails a return to a childhood memory of wanting to be a marine biologist. She replicates and reinterprets these tiny and sublimely colorful creatures, as well as their environments, recontextualizing them in the space of the exhibition. The exhibition’s center is the ‘Mother-Piece’ a silkscreen printed ceramic sculpture that merges the eight reliefs or eight nudibranchs respectively. For each relief a chosen nudibranch was dismantled in its features and reassembled in the form of a relief, transforming it from 3D into 2D. Printed using silkscreen, it seems as if the nudibranchs were living inside of the glazed ceramic bodies, which resemble the water essential to their survival. Nudibranch eggs are placed across the room like rosette ribbons, sheeting in protective mucus. The resin pieces evoke the plastic bags containing fish sold at water markets, not only addressing the cruelty of this practice but creating a habitat for the nudibranchs in the gallery space. 

The exhibition is characterized by a sense of absurdity and alienation familiar to Fischer’s practice, which creates sites where stable distinctions between reality and fiction are blurred. Yet pressing concerns around animal exploitation in capitalism shimmer just below the surface. For all its playfulness Fisher’s work raising important questions about the marine biodiversity, its beauty and the political urgency behind its protection. 

June Fischer was born in 1995 in Zurich, Switzerland, where she currently lives and works. Fischer has a multidisciplinary practice spreading across photography, sculpture, installation as well as writing and audiovisual work. As such, her work seeks to transcend and challenge the boundaries between fixed categories and media whilst experimenting with the interplay between different media and materials.

Text by Zakiya-Jordan Singleton

Alban Schelbert & Modulaw Sharing:

„Candid III“ & „The Ephemeral“
5.4.–18.4. 2021

Während zwei Wochen bespielen Alban Schelbert und Modulaw den Rindermarkt 23 durch ein 8 Kanal Lautsprecher-System mit eigenen akusmatischen Kompositionen.


Montag, 5.4.: Candid III
Mittwoch, 7.4.: The Ephemeral
Freitag, 9.4.: Candid III
Samstag, 10.4.: The Ephemeral
Sonntag, 11.4.: Candid III

Montag, 12.4.: The Ephemeral
Mittwoch, 14.4.: Candid III
Freitag, 16.4.: The Ephemeral
Samstag, 17.4.: Candid III
Sonntag, 18.4.: The Ephemeral

Öffnungszeiten: 14.00 bis 18.00 Uhr

ALBAN SCHELBERT: Candid III Eine akusmatische Installation, angetrieben von einem Kreis aus Lautsprechern, ähnlich einem altertümlichen Tribunal oder einem Mantra- zirkel, welche die menschliche Stimme von ihrem Körper löst. Diese dreiteilige Arbeit hinterfragt die vermeintliche Integrität der Stimme. Candid III: Ein akusmatisches Triptychon mit Beiträgen von Tenzin Yeshe Gyaltag, Hanne Lippard und Kim-Lillian Strebel.

Alban Schelbert ist Komponist und Musiker mit einer meist kollaborativen Praxis in den Diszi- plinen Film, Performance und Bildende Kunst.
Er studierte an der Gerrit Rietveld Akademie in Amsterdam und absolviert aktuell einen Master in Komposition & Theorie — Sound Design and der Zürcher Hochschule der Künste.

MODULAW: The Ephemeral
Das Stück „The Ephemeral“ ist eine Auseinan- dersetzung mit der klanglichen Darstellung
von Präsenz und der Wahrnehmung von Distanz. Durch skulpturale Situationen werden klangliche Entitäten erschaffen, welche Erin- nerungen an reale Klangwelten evozieren.
Ein Versuch dem Immateriellen Körperlichkeit zu verleihen.

Modulaw ist das Alias von Merlin Züllig (geb. 1996). Er hat Musik & Medienkunst studiert und absolviert momentan ein Master in Sounddesign. Seine künstlerische Praxis bewegt sich zwischen Klangkunst, Komposition für Film & Theater, Produktionen für Vokalisten und eigenen Werken.

Fotos: Christian Neuenschwander

Eleonore Francesca Meier

Hold Me
20. 3.–27. 3. 2021

enSoie und Rindermarkt 23 freuen sich sehr, Ihnen «Hold Me», eine Keramikausstellung von Eleonore Francesca Meier präsentieren zu dürfen.

Kuratiert von Vreni Lenggenhager
Foto: Mathias Renner
Grafik: Dominik Huber

Roman Selim Khereddine & Modulaw

Videoinstallation, 2021

Ausstellung: 1. 3.–7. 3. 2021
Täglich geöffnet von 14.00–18.00 Uhr oder nach Vereinbarung, +41 76 507 86 73
Begrenzte Kapazität (5 Personen)

Erhältlich in 3 Varianten
Nummeriert und signiert (Edition of 10)
CHF 35.-

Weisst du, was eine Hekatombe ist? Ich assoziierte dieses Wort mit nuklearer Kriegsführung und so zog ich es vor, nicht zu antworten. Aber [er] fragte weiter. Ein Disaster, sagte ich, eine Katastrophe? Nein, sagte er, eine Hekatombe ist ein Opfer von hundert Stieren auf einmal. Es kommt vom griechischen hekaton, was «einhundert», und von bous, was «Rind» bedeutet. Es gibt Überlieferungen aus der Antike, in denen von fünfhundert geschlachteten Stieren die Rede ist. Kannst du dir das vorstellen? Ja, ich kann mir alles vorstellen.
– Roberto Bolaño, Amuleto, 1999

Roman Selim Khereddine (geb. 1989) hat Masterabschlüsse in Geschichte, Islamwissenschaften und Fine Arts. Seine künstlerische Praxis umfasst Malerei und Zeichnung, Skulptur und Installation sowie Text und Video. Er wird dieses Jahr unter anderem im Helmhaus Zürich und im MASI Lugano ausstellen. Er lebt und arbeitet in Zürich.

Modulaw ist das Alias von Merlin Züllig (geb. 1996). Er hat Musik & Medienkunst sowie Sounddesign studiert. Seine künstlerische Praxis bewegt sich zwischen Klangkunst, Komposition für Film & Theater, Produktionen für Vokalisten und eigene Werke. Er lebt und arbeitet ebenfalls in Zürich.


26. 11. 2020–25. 2. 2021

Bookings by appointment and via Instagram only: @hotmailhotnail

Sophia Seemann

If music be the food of love
19. 11. 2020

Conceived as a recording session without an audience, the following ensemble played works from Claudio Monteverdi, Henry Purcell and Antonio Vivaldi:

Soprano: Sophia Seemann
Violine: Barbara Kissóczy
Cello: Johannes Herzog
Cembalo: Michelle Kissóczy


13. 11.–17. 11. 2020

The revenues from the Schmuckbörse are used to support educational projects for women and children in Tibet, Kenya, Syria, Mongolia and Tanzania.

Every piece of jewellery sold is a sign of solidarity.

More information: www.schmuckboerse-zuerich.ch

We fell in love once

29. 10.–4. 11. 2020

A temporary thrift store curated by enSoie founder and directors Monique, Eleonore, Sophie and Anna Meier!

Markus Dulk

Albas choice
2. 10.–24. 10. 2020

Ariane Vonmoos

Nourish to flourish
10. 9.–26. 9. 2020

On the occasion of the exhibition the publication «Umami» by Ariane Vonmoos, published by Innen Books, will be launched.

petit enSoie, kids store
The store is now located at Strehlgasse 26, 8001 Zürich.


Eleonore Francesca Meier
20. 1. 2018


Bestiaire Intime
Poetry reading
14. 12. 2017


Vintage art & photo books
By Chris Eggli
26. 11. 2017


Konga Bar
18. 11. 2017


Studio Ilio
Design objects
10. 11.–12. 11. 2017


Julian Zigerli
Pop-up store
24. 10.–23. 12. 2017


Simon Trüb
12. 10. 2017