In January I returned to Basel. For me, its a place where I can rejuvenate my creativity, for Basel is a culturally and historically rich city, which is reflected in its sheer number of museums. During my visit this time, the occasion was Museum Night Basel 2026. My focus was the Kunstmuseum Basel and the exhibition “Ghosts. Visualizing the Supernatural.” As somebody who doesn’t believe in ghosts themselves, I simply enjoy reflecting on what, in a given case, might have led people to believe, that what they were experiencing was a ghost or something supernatural. The exhibition contains more than 160 works and objects spanning roughly 250 years.
Some of the works that particularly stayed in my mind, were “Wolkengespenster I” by Richard Riemerschmid, 1987. What really gripped me, was the use of the frame to accentuate the artwork, almost creating two independant art pieces, yet coming together as one cohesive piece. The ornaments of the frame and the rays of light from the painted moon seem, visually, to continue along the same line. The frame thus becomes not a boundary but an extension.
The second piece was “The Phantom Hunter” by William Blair Bruce, 1888. What I enjoyed about this piece, was the uncertainty it creates. You don’t know whether the wanderer is following a phantom, or a harbinger of his own death. As if his spirit leaves him and continues onward, undeterred without looking back at the mortal shell. For me, the image remains a contemplative scene.
I was also impressed by “Speak! Speak!” by Sir John Everett Millais, 1895. I knew of several of his other works, since I had the chance to admire some his paintings in London. Therefore it struck me as a surprise that I hadn’t encountered this one earlier, since in my view it has a special spirit and also seems technically very impressive. The jewellery of the ghostly apparition sparkle like small points of light. In photographs of the piece this effect appears to get lost. Viewing it in person the gemstones really seem to glow from within.
A similar in person experience for me was “The Tenant” by Paul Benney, 2012. The figure seems to be standing behind a veil of dense smoke. After contemplating the artwork, from my knowledge of working with resin I came to the conclusion, that it had yellowed and became more opaque with age. But not to the detriment of the artwork – in fact I think it gives the artwork a more corporeal feel, very fitting with the theme.
Despite the crowds I thoroughly enjoyed my visit and I purchased the “Ghosts” exhibition brochure , which is helpful for looking up individual points later. I will definitely be revisiting the Kunstmusem (and the other institutions) in the future, but hopefully in a quieter setting.
During the Museumsnacht 2026 I also went to the Antikenmuseum and the Paper Mill. At the Paper Mill Basel, I liked the character of the place and the building itself. The museum is situated within the walls of a medieval paper mill, spread over four floors, with a mix of exhibitions and workshops.
At the Antikenmuseum, the ancient egyptian exhibition was of appeal. At the same time I couldn’t help thinking that unfortunately comparable objects have sometimes had complicated histories, and in some cases they entered European collections through unlawful removal or theft.
All in all Museum Night felt condensed: many people, many impressions but inbetween moments to reflect and resonate with single artworks that stay with you.