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

onGoinG


Various Artists

NOA art collection

in collaboration with

NOA art collection

Group Exhibition

Orthopaedic Clinic Lucerne, Switzerland

Since July 2024

The NOA art collection maintains a permanent display at OKL Lucerne, a private orthopedic clinic whose semi-public setting allows for a unique form of cultural access. By placing contemporary artworks in a space frequented daily by a broad audience, the collection extends beyond traditional exhibition venues—inviting engagement where it’s least expected, yet most natural.

  • The works on view include pieces by artists represented by NOA contemporary as well as others collected for their mastery of technique and material innovation. Thoughtfully installed within the architectural rhythm of the clinic, these works are not background decoration—they are active presences, quietly prompting observation, dialogue, and reflection.

    This display underscores NOA’s commitment to making contemporary art visible, relevant, and integrated into everyday life. It transforms a private context into a site of cultural resonance—where art meets its audience in moments of pause, transition, and encounter.

© NOA contemporary


Simon Berger

The Four Icons

in collaboration with

Berengo Studio

Permanent Installation

St. Regis, Venice, Italy

From July 2025 onwards

At St. Regis Venice, history is never merely remembered – it is continuously reimagined. In Simon Berger’s new installation “The Four Icons,” created in collaboration with Berengo Studio , Simon Berger honours four figures whose legacies remain woven into the fabric of this remarkable place: Claude Monet, Carlo Scarpa, Caroline Astor, and Marchesa Luisa Casati.

  • Each icon carries a different dimension of influence. Monet, whose brush captured Venice’s fleeting light like no other, embodies the city’s impressionistic beauty. Scarpa, the Venetian architect and designer, represents its modernist elegance and structural poetry. Caroline Astor, the matriarch of the original St. Regis in New York, reflects timeless sophistication and hospitality as an art form. And Marchesa Luisa Casati, the legendary muse and patroness, symbolises Venice’s theatrical mystique – a woman who declared her wish to be a living work of art.

    For Simon, whose practice lies in sculpting glass portraits that emerge through force and precision, these four icons are more than historic personalities. They are reflections of the material itself: transparent yet strong, fragile yet defiant. By working with Berengo Studio – a beacon of Murano’s glass-making mastery – Simon situates his contemporary vision within a lineage of centuries-old Venetian craftsmanship.

    “The Four Icons” is not simply an installation. It is a tribute to a hotel that has hosted legends, to a city that turns memory into myth, and to glass as a medium that, like Venice, reveals its beauty through tension, light, and quiet resilience.

© NOA contemporary


Piet Baumgartner

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

© Kira Kynd


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

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.

  • 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 Zeneli

    Text by: EMST

© Paris Tavitian



Franziska Stünkel

In collaboration with

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)

  • 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