COLLABORATIONS
At NOA contemporary, collaboration is at the core of what we do. We see each partnership as an opportunity to expand the horizon of what is possible – creating intersections between artists, institutions, collectors, brands, and cultural platforms to amplify meaning, presence, and impact.
We collaborate closely with our artists to develop tailored strategies that advance their unique practices, ensuring that each project, exhibition, and presentation is not only contextually relevant but also aligned with their long-term vision. From co-producing museum-scale installations to advising on public art interventions and immersive projects, we engage with our artists as partners in shaping their narrative within the global art landscape.
Our institutional collaborations span leading museums, foundations, and art spaces across Europe, North America, Asia, and the Middle East. These include facilitating exhibitions at major institutions, curating special projects for biennials, and enabling new commissions that bring an artist’s conceptual framework into public view. We work to ensure that each institutional partnership is meaningful, strategic, and fosters enduring relationships for our artists.
Beyond institutional work, we build collaborations with brands and cultural organisations that seek to align with radical creativity and cultural innovation. From conceptual product integrations to large-scale brand activations, we develop cross-sector partnerships that honour artistic integrity while expanding audience reach and relevance.
We also collaborate with collectors, curators, and advisors to develop bespoke acquisitions and collection strategies. Our approach emphasises transparency, education, and long-term engagement, fostering relationships that transcend transactional exchange and instead build shared narratives of cultural stewardship.
Fundamentally, our collaborations are driven by a belief in the power of co-creation. Whether working with an emerging artist on their first institutional show, partnering with a museum to realise an ambitious new installation, or advising a brand on authentic cultural integration, we bring precision, dedication, and vision to every collaboration we undertake.
Together with our artists and partners, we aim to leave a mark that is lasting – a mark that speaks to the relevance of art in shaping how we see, understand, and transform the world around us.
For further insights, please explore our Collaboration Archive.
Selection of Collaborations
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Piet Baumgartner
Theater Spektakel Zurich
in collaboration with
Theater Spektakel Zurich
Performance and Installation
Saffainsel, Zurich, Switzerland
14 August — 31 August 2025
The water level is rising. More and more often, more and more violently, people are standing somewhere in the rain, then knee-deep, waist-deep, neck-deep in water. Some live upstairs or can get away somewhere else thanks to 4×4 all-wheel drive. And when the rain stops, the asphalt becomes too hot. How will this continue? For the Zurich Theatre Spectacle, Bernese artist Piet Baumgartner, together with Ortreport and Julia Reichert, explores the central machines of our present day – and an equally central theme of the same.
Text by: Theater Spektakel Zurich
©Claudia Manzo
Jakup Ferri
Group exhibition
Kranj, Slovenia
Opening 31 May 2025
Textile Art Biennial is about sustainability, heritage, and social impact.
It originates from Kranj and keeps growing.
© BIEN Textile Biennale
Jakup Ferri
Why Look At Animals? A Case for the Rights of Non-Human Lives
Curated by Katerina Gregos
Group exhibition
Museum for Contemporary Art, Athens, Greece
16 May 2025 — 15 February 2026
Why Look at Animals? A Case for the Rights of Non-Human Lives centres on animal rights and animal well-being, highlighting the urgent need to recognise and defend the lives of non-human animals in an anthropocentric world that exploits, oppresses and brutalises them. The exhibition is inspired by John Berger’s seminal essay of the same name, “Why Look at Animals?” (1980), which explores the changing relationship between humans and animals, particularly in the context of modernity. The essay reflects on how animals, once deeply integrated into human life, have become increasingly distanced, objectified and commodified.
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Why Look at Animals? A Case for the Rights of Non-Human Lives aims to engender a discussion around the ethics and politics of how we treat animals. By exposing the exploitative, violent mechanisms behind systemic animal abuse, it renders what is shamefully invisible visible. The exhibition and its public programme hope to raise awareness of the conditions of non-human animal life today, from the home, the street and the factory to their threatened natural habitats. Why Look at Animals? invites us to consider the non-human animal not as “Other”, but as a being with a “voice” and intrinsic value of its own, capable of artfulness, play, socialisation and transformation, pleasure, inventiveness, pain and grief.
The exhibition begins on the museum’s lower ground floor where the focus is on the deeply interconnected phenomena of colonialism, industrialism, and technological “progress”, which led to the first large-scale destruction of habitats as well as the violent exploitation of animals. As visitors ascend through the museum, they will encounter works that examine the present state of things: how animals exist and survive in urban environments, examples of animal activism, and new forms of animal knowledge, among other themes. Finally, on the fourth floor of the museum, the exhibition shifts in tone; here, poetics, ecofeminism, animism, play, animal creativity, and humour intersect. Animals reclaim their dignity, and we are prompted to imagine a future world in which there will be more harmonious interspecies co-existence and collaboration. Advances in animal studies continue to show that more and more species of non-human animals possess intelligence and sentience; that they feel pleasure, pain, grief and fear.
The exhibition puts into question human exceptionalism, and aims to confront one of the carefully hidden and largely unspoken crimes of humanity on a mass scale: that of the daily, institutionalised, systematic violence against animals – whether directly or indirectly – a violence that denies them their basic natural rights. Why Look at Animals? highlights the fact that the myriad species that exist alongside us are an integral part of our biosphere and ecosystems, not products and automata, separate from and subordinate to us. With this project EMΣT places ecological justice and the rights of non-human life at the heart of its programming for the months to come. Any serious engagement with climate justice and environmental protection must therefore involve animals as an integral part of the conversation.
Ang Siew Ching I Art Orienté Objet (Marion Laval-Jeantet & Benoît Mangin) I Sammy Baloji I Elisabetta Benassi I John Berger I Rossella Biscotti I Kasper Bosmans I Xavi Bou I Nabil Boutros I David Brooks I Cheng Xinhao I David Claerbout I Marcus Coates I Sue Coe I Simona Denicolai & Ivo Provoost I Mike Dibb & Chris Rawlence I Mark Dion I Radha D’Souza I Maarten Vanden Eynde I Jakup Ferri I Alexandros Georgiou I Igor Grubić I Gustafsson & Haapoja I Joseph Havel I Lynn Hershman Leeson I Annika Kahrs I Menelaos Karamaghiolis I Anne Marie Maes I Britta Marakatt-Labba I Nikos Markou I Angelos Merges I Wesley Meuris I Tiziana Pers I Paris Petridis I Janis Rafa I Rainio & Roberts I Marta Roberti I Mostafa Saifi Rahmouni I Lin May Saeed I Panos Sklavenitis I Sonic Space I Jonas Staal I Daniel Steegmann Mangrané I Oussama Tabti I Emma Talbot I
Nikos Tranos I Maria Tsagkari I Dimitris Tsoumplekas I Euripides Vavouris I Kostis Velonis I Driant ZeneliText by: EMST
© Paris Tavitian
Tobias Gutmann
Earth — Tobias — Life
In collaboration with
Klaipeda Communication Cultural Center
Solo exhibition
Klaipedia, Lithuania
20 June — 24 August 2025
For the first time, Tobias Gutmann will be presenting various of his drawings series in an exhibition space outside of Switzerland.
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Simply looking at art can increase emotional well-being - especially if it is done repeatedly and consciously, as a recent international study by the University of Vienna shows.[1] Art works through various psychological mechanisms: it encourages reflection, promotes resilience, strengthens a sense of meaning and supports emotional balance. Seeing itself is a healing practice.
But art can do even more. It can create ‘psychological safety’ - that rare inner state in which we can show ourselves without being judged.[2] Although this concept refers primarily to team-building processes, it describes a central characteristic of Tobias Gutmann's artistic work: with his drawings, he creates visual spaces for thought that oscillate between strength and inner insecurity, between visibility and withdrawal, between absolute intimacy and radical openness.
For the first time, Tobias Gutmann is dedicating an exhibition exclusively to his drawings. They are connected works: Each line becomes a silent act of self-encounter, an embodied practice of drawing, a connection in the moment. This moment also creates a quiet resonance between drawing, artist and viewer - a relationship that goes beyond the visible. His visual language moves between abstraction and figuration: fragile beetles, reaching fingers, fragments of letters, dots and signs emerge from just a few strokes - sometimes non-representational, sometimes astonishingly concrete. Some works appear contemplative, almost spiritual, while others deal more clearly with our relationship to the world, to nature and to the body. His word drawings condense sensations into poetic fragments, but always leave room for personal interpretation.
‘Hello, bye. Hi, bye. Hello, bye.’ What sounds like a casual murmur is condensed into a cycle of life: birth as hello, death as goodbye - and in between a constant coming and going. ‘My life was characterised by these hellos and goodbyes,’ says the artist looking back. As a child, he often moved, changed schools, said goodbye to places before new encounters began. These experiences resonate in his work today - in text drawings that hover between lightness and profundity, and in lines that open up rather than define. They are visual transitions - fleeting, fragile, permeable - and at the same time borne by a quiet curiosity and constancy. Lines return again and again, repeating themselves in seemingly simple gestures, almost banal - and yet each one is slightly different, a nuance in the rhythm of the drawing. Their repetition reveals a quiet persistence from which a new, larger whole emerges: a form that does not impose itself, but unfolds.
This exhibition can be understood as an invitation: to encounter the artist's personal history, to search for one's own meaningfulness and psychological security, to experience stability and meaning in an often turbulent world. The exhibition thus becomes not only a space for thought, but also a space for dialogue.
Text by: Dr. Ismene Wyss
[1] MacKenzie D. Trupp et al. (2025) The Impact of Viewing Art on Well-Being. A Systematic Review of the Evidence Base and Suggested Mechanisms. The Journal of Positive Psychology, 1–25. https://doi.org/10.1080/17439760.2025.2481041.
[2] Pia Stalder, Paula Nestea & Leila Gisin (2022) Psychologische Sicherheit.
© Domas Rimeika
AATB
Shanghai Art and Technology Biennale
Curated by Fei Jun and Naiyi Wang
with more than 50 artists
Group Show
Shanghai, Shangcheng CEEC Electronic Trade Center
June — September 2025
Beijing Art and Technology Biennale BATB took place until May 2025, and will travel to Shanghai and Shenzhen throughout 2025.
AATB will be showing a new, large scale version of “A Particular Score”. As the sculpture detects secondary particles created from cosmic rays hitting the atmosphere, it responds by striking one of sixteen quartz crystal tubes. The unpredictable sequence of audible tones offers a perceptible glimpse into the invisible cosmic flux that continuously bathes our surroundings.
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A Particular Score was originally commissioned by Bienal de Arte Contemporânea da Maia, Portugal, in 2019, and was reworked for the Cosmos at CID au Grand-Hornu exhibition in Belgium in 2021. The circular version was inspired by our Arts at Cern at CERN residency in 2023 and was shown atMudac Lausanne, Switzerland, as part of the Space is the Place exhibition held the same year. For Beijing Art and Technology Biennale a new, larger scale version was produced. The exhibition was supported by Pro Helvetia.
With its theme Earthwise, this edition is curated by Fei Jun and Naiyi Wang with academic advisors Adrian Notz and Philipp Ziegler, and invites 50 artists and scientists from around the globe to reconsider multiple forms of intelligence, animals, plants, machines, planetary intelligence, etc.
Text by: AATB
Franziska Stünkel
sommer.frische.kunst
Art Bad Gastein
Group exhibition
Bad Gastein, Austria
26 June — 31 August 2025
"This is what Scheerbart achieved with his glass and the Bauhaus with its steel: they created spaces in which it is difficult to leave traces." (W. Benjamin)
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In a way, glass has become a symbol of our modern, globalised world: There is hardly a large city whose face is not defined by the seemingly ever-same architectural arrangements of glass and steel - the skyscrapers, the seemingly endless rows of shop windows in the shopping arcades, glass interiors - behind which all cultural, regional and individual differences seem to disappear; even our lives seem to have become so permeable in the age of almost infinite possibilities of surveillance that we tend to express this experience in the phrase ‘glass man’. This raises the question: are we actually still able to leave our traces in this transparent world, to recognise ourselves and others? In her photographic works, Franziska Stünkel seeks to find the specifically human in this seemingly sterile, smooth, meaningless medium: For over 15 years, she has been travelling the world with her Leica M, seeking to document the typical regional, the culturally specific, the authentic coexistence of people on the various continents, as reflected in the medium of glass, for her series Coexist. She photographed one of the works from this series in 2015 in the old Casino de l'Europe in Bad Gastein.
As part of the academy, she is offering a street photography workshop in Bad Gastein, ‘in one of the most fascinating places in Europe’, says Stünkel, giving anyone interested the opportunity to learn how to capture ‘real’ moments on the street with their camera and develop their own photographic style.
Simon Berger
Architectural Installation
in collaboration with
Agence DS
Installation
Terra Nobilis, Paris
September 2025
More information coming soon…
Yves Scherer
Duo Exhibition
With Leonor Fini
In collaboration with
Agence DS and Loeve&CO
Duo Exhibition
November — December 2025
More information will be published soon…
Hinano Hayama
Duo Exhibition
Kuroi Mori
Duo Exhibition
Sapporo, Japan
20 October — 29 October 2025
More information will be published soon…
Simon Berger
Solo Exhibition
In collaboration with
Carte Blanche
Solo exhibition
Hangzou, China
November 2025
More information will be published soon…
AATB
Shenzhen Art and Technology Biennale
Curated by Fei Jun and Naiyi Wang
with more than 50 artists
Group Show
Shenzhen
December 2025 — November 2026
AATB will be showing a new, large scale version of “A Particular Score”. As the sculpture detects secondary particles created from cosmic rays hitting the atmosphere, it responds by striking one of sixteen quartz crystal tubes. The unpredictable sequence of audible tones offers a perceptible glimpse into the invisible cosmic flux that continuously bathes our surroundings.
-
A Particular Score was originally commissioned by Bienal de Arte Contemporânea da Maia, Portugal, in 2019, and was reworked for the Cosmos at CID au Grand-Hornu exhibition in Belgium in 2021. The circular version was inspired by our Arts at Cern at CERN residency in 2023 and was shown atMudac Lausanne, Switzerland, as part of the Space is the Place exhibition held the same year. For Beijing Art and Technology Biennale a new, larger scale version was produced. The exhibition was supported by Pro Helvetia.
With its theme Earthwise, this edition is curated by Fei Jun and Naiyi Wang with academic advisors Adrian Notz and Philipp Ziegler, and invites 50 artists and scientists from around the globe to reconsider multiple forms of intelligence, animals, plants, machines, planetary intelligence, etc.
Text by: AATB