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“UNZEIT.” – Tobias Nussbaumer’s first solo exhibition in Basel
Helvetia Art Foyer is delighted to present “UNZEIT.”, Basel-based artist Tobias Nussbaumer’s first solo exhibition in his home town, from 21 August to 20 November 2025. With an impressive interplay of drawings, installations and architectural constructions, the artist creates a multifaceted world, exploring the boundaries between reality, memory and imagination. Nussbaumer’s works invite us to re-evaluate our perception of time and space and open up a profound dialogue about the complexity of human experience.
20.08.2025 | Media releases
There are moments that defy clear classification in terms of time – neither past nor future, but something in between. Basel-born artist Tobias Nussbaumer’s first solo exhibition in his home town explores precisely this theme. “UNZEIT.” (which translates to “untimeliness”) is an exhibition that takes visitors into a multi-layered world of drawings, sculptures and architectural constructions in which reality, memory and imagination meet. Established rules are broken and linearity is dissolved through reflections, repetitions and digital overlays.
Tobias Nussbaumer was born in Basel in 1987. Now, he is launching an exhibition on his home turf that combines personal fragments of memory with algorithm-generated visual worlds spread across three rooms. In doing so, he explores the interfaces between analogue drawings and digital processes – not to create fixed meaning, but to make transitional zones and points of contact visible.
Each room is an approach to the passing and slipping away of time
Room 1: Echo Drift
Five small-format drawings, complemented by a digital projection, Forever (21 seconds), address the slipping away and distorting of memories. Inspired by the artist’s own experiences with his father, who suffered from Alzheimer’s, fragmented memory landscapes unfold in which sound and image drift apart – like memories that take on a life of their own.
Room 2: Postponed Reflection
In this transitional zone, reality and fiction, control and chaos overlap. The starting point is memory fragments fed into AI processes, which Nussbaumer transforms into analogue drawings. Reflections and shifted perspectives create images that oscillate between after-image and dystopian dream.
Room 3: UNZEIT
Architecture becomes an active part of the staging here. Specially manufactured “fake pillars” mirror existing pillars, alter the spatial layout and distort orientation. The sculpture Semipermeable Future Self fragments its environment, while a large-format drawing, UNZEIT (2025), hovers between construction and disintegration – with the help of carefully orchestrated lighting.
Tobias Nussbaumer was born in Basel in 1987. Now, he is launching an exhibition on his home turf that combines personal fragments of memory with algorithm-generated visual worlds spread across three rooms. In doing so, he explores the interfaces between analogue drawings and digital processes – not to create fixed meaning, but to make transitional zones and points of contact visible.
Each room is an approach to the passing and slipping away of time
Room 1: Echo Drift
Five small-format drawings, complemented by a digital projection, Forever (21 seconds), address the slipping away and distorting of memories. Inspired by the artist’s own experiences with his father, who suffered from Alzheimer’s, fragmented memory landscapes unfold in which sound and image drift apart – like memories that take on a life of their own.
Room 2: Postponed Reflection
In this transitional zone, reality and fiction, control and chaos overlap. The starting point is memory fragments fed into AI processes, which Nussbaumer transforms into analogue drawings. Reflections and shifted perspectives create images that oscillate between after-image and dystopian dream.
Room 3: UNZEIT
Architecture becomes an active part of the staging here. Specially manufactured “fake pillars” mirror existing pillars, alter the spatial layout and distort orientation. The sculpture Semipermeable Future Self fragments its environment, while a large-format drawing, UNZEIT (2025), hovers between construction and disintegration – with the help of carefully orchestrated lighting.
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