When the Fluxus artist Ben Vautier painted the words ‘La Suisse n’existe pas’ (Switzerland does not exist) at the 1992 World Exhibition in Seville, he merely confirmed the suspicions of many. Prosperous but internally complex, with four official languages and 26 independent cantons, the country sits like a scale model at the heart of the European Union – an organization that it cannot join because, in a perverse sense, it is the prototype for it. As historical exception and geopolitical fairy tale, Switzerland is an island, the Atlantis of Europe. This insularity was the central theme of Aleksandra Mir’s solo show at the Kunsthaus, her first at a major public museum.
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