Sandra‘s Closet

Standing in front of Fiori, I almost vanish. My ensemble is a field of blossoms, and against Sofia Cacciapaglia‘s monumental Italian flowers it reads as the gentlest camouflage, woman and canvas folding into one bloom. For a moment I am not in front of the painting at all. I am inside it. Cacciapaglia paints women the way she paints gardens, larger than life and veiled in tenderness, and to stand dressed as one of her flowers is to be quietly initiated into that world.

Fiori
Sofia Cacciapaglia
Italy

The memory it stirred took me back to last November, to Riyadh, where I had the privilege of speaking at the Creative Women Forum Saudi Arabia at Princess Nourah Bint Abdulrahman University. The theme that gathered us was simple and quietly radical: Empower, Engage, Sustain. Alongside the conversations, I attended a vernissage that presented a room of female artists from every corner of the world whose work I truly loved and wanted to share it with you ever since.

Flora
Olivia D’Aboville
Philippines

I think of Olivia d’Aboville‘s Flora, woven from Philippine abaca and recovered fibre, the fragility of the ocean rendered as something you want to reach out and touch. Of Sally Smith‘s Ghost Fish, the New Zealand sculptor who trained first as an architect and now works in bronze, coaxing presence out of absence, form out of empty space. Of Elisa Insua‘s Verde Alepi and Nero Marquina, the Argentine alchemist who builds the language of marble and gold from what the rest of us discard, beauty assembled out of excess and asking us, gently, how much is enough. Of Catherine Coady‘s Gold Fever Construction, the Australian eye turned with such clarity onto appetite, image, and the things we are sold.

Ghost Fish
Sally Smith
New Zealand

What threads them together is not a subject but a gesture. Each of these women takes the overlooked, the fragile, the thrown away, and makes it luminous. Cacciapaglia paints her gardens on humble cardboard. Insua gilds the cast off. D’Aboville lifts the sea’s distress into something delicate. The discarded becomes the centrepiece. The invisible is made to bloom.

Gold Fever
Construction
Catherine Coady
Australia

And now, months later, Art Basel has only just closed its doors, the great annual exhale of the art world, and I find myself thinking perhaps that is what the camouflage was really about. Not hiding, but belonging. To disappear into Fiori for a heartbeat is to be reminded that the most quietly powerful thing a woman can do is bloom in good company. From Riyadh to Basel, the flowers keep opening.

LoL, Sandra

Verde Alepi
Elisa Insua
Argentina

Nero Marquina
Elisa Insua
Argentina

Photos: © Sandra Bauknecht
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Last Thursday felt like the perfect start to Art Weekend in Zurich. With Art Basel about to begin, the city was already buzzing with collectors, artists, curators, and friends arriving from all over the world. There was a special energy in the air, the kind that only comes once a year when the art world gathers in Switzerland.

With General Manager Mandarin Oriental Savoy Dominik G. Reiner and German Artist Paul Schrader

My evening started at the Mandarin Oriental Savoy Zurich, where I attended an intimate reception for German artist Paul Schrader, whose works are currently on display throughout the hotel. I was particularly impressed by how naturally his pieces fit into the elegant surroundings of the Savoy.

His work has a quiet confidence that immediately draws you in without demanding attention. Just as enjoyable as the exhibition was meeting Paul himself, warm, approachable, and refreshingly down-to-earth.

With Christoph Niemann at Tao’s

Later, I joined Galerie Gmurzynska for a dinner at Tao’s celebrating the opening of Christoph Niemann’s exhibition. Niemann is one of those rare artists whose work manages to be clever, playful, and sophisticated at the same time. His ability to transform everyday ideas into visual stories has earned him international recognition, and the exhibition is a wonderful reflection of that creativity.

What made the evening truly special, however, were the people. The conversations flowed effortlessly, old friendships were renewed, new connections were made, and there was a shared excitement for the week ahead.

Tao’s Zurich

A wonderful evening, a beautiful reminder of why Zurich becomes such a captivating place every June, and the perfect beginning to what promises to be an inspiring Art Basel week.

LoL, Sandra

With wonderful Galerist Isabelle Bscher of Galerie Gmurzynska

Friends for a long time: Marco Diemer 

Handbag designer Peter Nitz with whom I hosted an event for Patek Philippe a few years ago.

Photos: Courtesy of Mandarin Oriental Savoy and © Sandra Bauknecht
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Gone too soon.

Still processing this. Hilde Lynn Helphenstein, known to so many of us as @jerrygogosian, was found dead in her hotel room at the Rosewood São Paulo on May 31st. She was 40. The circumstances of her death remain under investigation.

She gave us sharp wit, irreverence, and an insider’s eye on an art world that too often takes itself far too seriously. Her memes circulated like gospel. She said what people only dared to think. And just days before she died, she encouraged us all to «let the rich woman inside fly.»

What many may not have noticed is that in recent months, she had quietly turned to painting, sharing 87 delicate watercolors on her personal Instagram. Mostly flowers. A softer, more private side of a woman the world knew for her sharp edges.

But her passing is a reminder of something we need to keep telling ourselves: we never truly know what someone is carrying behind the version of themselves they choose to show the world. The funniest, the sharpest, the most brilliant voices are not immune to darkness and struggle.

So check in on the people you love. Be a little kinder than necessary. You never know what today looks like for someone else.

Rest, Hilde. 🖤

LoL, Sandra

Photos: © Sandra Bauknecht and via @hildehelphenstein
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Now in its 24th edition, Art in the Park returns to the iconic grounds of Baur au Lac this summer with a compelling solo presentation by Norwegian artist Ida Ekblad. Initiated and curated by sixth-generation owner Gigi Kracht, the annual sculpture exhibition has long been a fixture of the Zurich cultural calendar and a highly anticipated prelude to Art Basel.

Having attended many editions over the years, this is one of those Zurich summer highlights I return to time and again, and if you have been following Sandra’s Closet for a while, you will no doubt have seen my coverage before. What Gigi Kracht creates here each year is simply remarkable.

With Gigi Kracht at a previous Art in the Park event.

Running from June 15 to July 21, 2026, and opening in parallel with Zurich Art Weekend, this year’s edition is realised in collaboration with Zurich gallery Karma International. Ekblad, whose work is held in collections including the Kunsthaus Zürich, Centre Pompidou and MOCA Los Angeles, brings a new body of work that extends her sculptural and painterly practice into both the park and the hotel’s interior salons.

Book of Boredom by Ida Ekblad

Two monumental bronze sculptures, THE JINXED PORTRAIT (2026) and BOOK OF BOREDOM (2022), will anchor the outdoor presentation, their hand-painted surfaces entering into dialogue with the park’s remarkable tree canopy.

Joining them is the white bronze bench NATTSYN FOR DAGSYN (2022), adorned with a rose motif and previously shown at the Kunsthaus Zürich. A particular highlight is the world premiere of Ekblad’s Kraken Möbel series, a group of wooden objects that blur the boundary between sculpture and design, inviting visitors to interact with the space in entirely new ways.

Ida Ekblad

Indoors, a new series of paintings and works on paper continues Ekblad’s signature language of gestural abstraction, layered colour and poetic text. The exhibition is free for everyone to visit.

LoL, Sandra

Photos: Courtesy of Baur au Lac and Kistefos-Museum, © Sandra Bauknecht
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Spring has arrived at Aliée Istanbul with something truly special. The hotel’s new Art Cycle runs from April through October, turning the entire property into a living art route, from the garden and courtyards to interior spaces and the surrounding urban fabric.

Rather than decorative additions, the works are conceived as genuine artistic interventions that shape space, atmosphere and perception. The program brings together an impressive roster of international artists: Swiss artist Giulio Gallana contributes a land art piece in the Hasbahçe garden that draws from the landscape itself, while British sculptor Tony Cragg brings his signature energy to the courtyard. German artist Gregor Hildebrandt weaves materiality and memory into his installations, and Ghada Amer explores identity and representation in the interior spaces.

Rounding out the cycle are paper animal sculptures by Papier Atelier around the Little House, and a large-scale mural by Mantra appearing on the façade of Mondaine de Pariso Istanbul in early May.

As Aslı Ünal, Director of Art and Culture at Tersane Istanbul, puts it: «the temporary nature of these works only deepens their significance. Each piece exists here for a limited time, and that transience makes every encounter all the more meaningful.»

Nestled in the historic shipyard district of Tersane on the Golden Horn, Aliée Istanbul is the latest addition to the Paris Society Hotel Collection. With 122 rooms and suites, a 4,000 m² wellness spa and a dedicated art program including its own collection and artist residencies, the hotel has established itself as one of Istanbul’s most creatively ambitious addresses.​​​​​​​​​​​​​​​​

LoL, Sandra

Photos: Courtesy of Aliée Istanbul
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Some artworks fill a space. Others transform it. With New York Apple, Claude Lalanne achieves exactly that, a poetic, monumental gesture now on view at Le Bristol Paris. Presented by Christie’s, the sculpture has already emerged as a standout highlight of the upcoming 20/21 Century Art Evening Sale.

Standing nearly 2.5 meters tall, New York Apple is Lalanne’s most ambitious interpretation of a motif she has explored since the 1960s. What began as an intimate study evolves here into a striking balance of surreal transformation and organic elegance. This edition (7/8, 2008), estimated at €5–7 million, embodies the unique blend of imagination and formal precision that defines her work.

Its placement at Le Bristol is more than curatorial, it’s cultural. Set within the hotel’s refined salons and iconic garden, the sculpture engages in a dialogue with a space synonymous with Parisian art de vivre.

No stranger to prestigious stages, New York Apple has appeared from Park Avenue in New York to the gardens of Versailles. Its current presentation in Paris marks yet another sophisticated chapter in its journey.

LoL, Sandra

Photos: © Le Bristol Paris / Anna Buklovska © Christie’s Images Limited 2026 
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One of the most important exhibitions ever dedicated to Alexander Calder, «Calder. Rêver en Équilibre» has been conceived in close collaboration with the Calder Foundation, its principal lender. The display also features loans from international institutions and leading private collectors, bringing together nearly 300 works: stabiles and mobiles – to use the Calderian terminology for static and kinetic abstractions – as well as wire portraits, carved wooden figures, paintings, drawings, and even jewelry, designed as unique sculptures.

Apple Monster, 1938. Wood, wire, and paint, 66″ x 55 1/2″ x 32 1/2″. Calder Foundation, New York; Gift of Alexander S. C. Rower in memory of Mary Calder Rower, 2015. Photograph by Tom Powel Imaging © Calder Foundation, New York.

Throughout the chronological journey spanning more than 3,000 m2, the exhibition at Fondation Louis Vuitton will highlight Calder’s fundamental artistic concerns: movement above all, but also light, reflection, humble materials, sound, the ephemeral, gravity, performance, and the interplay of positive and negative space.

Devil Fish, 1937. Sheet metal, bolts, and paint. 68″ x 64″ x 47″. Photograph by David Heald © Calder Foundation, New York.

The anniversary exhibition is enriched by contributions from Calder’s contemporaries. Works by the artist’s friends Jean Arp, Barbara Hepworth, Jean Hélion, and Piet Mondrian, as well as Paul Klee and Pablo Picasso, will situate Calder’s radical inventiveness within the avant- garde movement. 34 photographs taken by some of the most important photographers of the 20th century – Henri Cartier-Bresson, André Kertész, Gordon Parks, Man Ray, Irving Penn, and Agnès Varda, among others – will show an artist walking a tightrope between art and life. «Calder. Rêver en Équilibre» will also feature focused presentations dedicated to key bodies of Calder’s work, including his beloved Constellation series and his dynamic jewelry.

Calder with Mobile (1941) in his Roxbury studio, 1941. Photograph by Herbert Matter © Calder Foundation, New York.

In line with previous monographic exhibitions dedicated to major 20th and 21st century figures – such as Jean-Michel Basquiat, Joan Mitchell, Charlotte Perriand, Mark Rothko, David Hockney, Gerhard Richter – the Fondation Louis Vuitton is dedicating all of its exhibition spaces, and for the first time its adjoining lawn, to Calder’s work. In doing so, the exhibition initiates a dialogue between Calder’s volumes, planes and movements and those of Frank Gehry’s architecture.

Fondation Louis Vuitton in Paris – from April 15th to August 18th – Calder. Rêver En Equilibre.

LoL, Sandra

La Grande vitesse (1:5 intermediate maquette). 1969. Sheet metal, bolts, and paint, 102″ x 135″ x 93″ (259.1 x 342.9 x 236.2 cm).

The Brass Family. 1929. Brass wire and painted wood. Overall: 67 × 41 1/8 × 8 7/8in. (170.2 × 104.5 × 22.5 cm). Gift of the artist. Inv. N.: 69.255 – Artwork Location: Whitney Museum of American Art, New York, USA – Permission for usage must be provided in writing from Scala.

Harps and Heart, c. 1937. Brass wire, loop: 40″; element: 6 1/4″ x 4″. Photograph by Maria Robledo © Calder Foundation, New York.

Photos: © Louis Vuitton
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To mark International Women’s Day, Villa Igiea in Palermo presents «We Are All Whatever Singularities,» an exhibition by the conceptual feminist artist collective Claire Fontaine, on view from 7 March to 10 May 2026.

Inspired by philosopher Giorgio Agamben’s idea of the «singularity,» the exhibition reflects on the human condition and our potential to become many different things. Claire Fontaine presents three silkscreens referencing Andy Warhol’s iconic Marilyn Monroe portraits, reinterpreted with varying colours and overlaid phrases that question identity, authorship, and the ways digital networks connect and divide us. The exhibition also includes the sculpture Brickbat, transforming a book on Selinunte into a solid stone block, and the luminous installation Luminous Fountain, symbolizing the continuous cycle of life and memory.

Alongside the exhibition, Villa Igiea introduces the cultural program «Sicilian Matriarchy,» curated by Rocco Forte Hotels. Inspired by the legendary Sicilian icon Donna Franca Florio, the program invites guests to explore Palermo through experiences led by remarkable women.

These encounters include a visit to Claire Fontaine’s studio, a guided exploration of the Norman Palace and Cappella Palatina through the stories of four historical queens named Constance, a meeting with artisan Carolina Guthman dedicated to preserving traditional Sicilian embroidery, and an intimate chamber concert performed by young female musicians in a Liberty-style palazzo.

Through art, history, and craftsmanship, Villa Igiea continues to position itself as a cultural meeting point where contemporary creativity and the spirit of Sicily come together.

LoL, Sandra

Photos: Courtesy of Rocco Forte Hotels
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SWATCH x GUGGENHEIM COLLECTION

Pulsing with the creativity of legendary artists, the Swatch x Guggenheim Collection brings art to everyday life. Discover the four masterpieces captured as vibrant art-inspired watches and turn time into a captivating art journey.

MONET’S PALAZZO DUCALE
Inspired by Claude Monet’s The Palazzo Ducale, Seen from San Giorgio Maggiore (1908), this watch features Venice’s iconic palace on the dial. When exposed to UV light, the dial glows vibrant orange, evoking the city’s radiant beauty.

Monet’s The Palazzo Ducale CHF 100 – Monet’s The Palazzo Ducale Pay CHF 110

KLEE’S BAVARIAN DON GIOVANNI
Paul Klee’s whimsical geometry and symbolic forms from The Bavarian Don Giovanni (1919) are playfully displayed on this timepiece. A special calendar wheel changes color daily reflecting the artist’s ever-changing inspirations.

Klee’s Bavarian Don Giovanni CHF 90

POLLOCK’S ALCHEMY
Pollock’s revolutionary poured technique from Alchemy (1947) is captured in details printed across this watch’s dial and strap. A raw expression of freedom, it reflects the artist’s bold, avant-garde spirit.

Pollock’s Alchemy CHF 100

DEGAS’S DANCERS
A tribute to Edgar Degas’s masterpiece Dancers in Green and Yellow (1903), this art-inspired timepiece echoes the artist’s focus on the ballet dancers’ body language. Luminous hues infuse the watch with a sense of fluid motion.

Degas’s Dancers CHF 90

Swatch was a true collector’s icon when I was young, and I still own many of those pieces today. Seeing collaborations like the Guggenheim collection makes me believe the next Swatch revival is already on its way.

The Swatch x Guggenheim Collection is now available online and in Swatch stores worldwide.

LoL, Sandra

Photos: © Swatch
DISCLOSURE: We may earn commission from links on this page, but I only recommend products I love. Promise! Four masters. One collection. Paul Klee, The Bavarian Don Giovanni, 1919. © 2025 Artists Rights Society (ARS), New York ​- Jackson Pollock, Alchemy, 1947. © Pollock-Krasner Foundation / 2024, ProLitteris, Zurich​ – Edgar Degas, Dancers in Green and Yellow, ca. 1903​ – Claude Monet, The Palazzo Ducale, Seen from San Giorgio Maggiore, 1908​

Last weekend Kunsthalle Zürich celebrated its 40th anniversary and what a celebration it was. The evening felt less like a retrospective and more like a time machine, sending us simultaneously back into the institution’s rich history and forward into its exciting future.

The festivities began with a spirited auction led by Sandra Nedvetskaia, whose energy and elegance turned bidding into a performance of its own. The room buzzed with collectors, artists, and friends of the Kunsthalle, each eager to support the next chapter of this storied institution.

Michael Ringier in front of Kerstin Brätsch, MƎTA, 2021

One of the most memorable moments came from Michael Ringier, who coined a playful new acronym: MILF – Museum I Like to Finance. It was cheeky, clever, and perfectly captured the spirit of the night, art should be taken seriously, but never too seriously. Personally, as someone who dreams of opening a museum one day, I found this both hilarious and inspiring.

Part of the auction: Kerim Seiler, Maintenant, 2010

The art itself was just as remarkable as the guests. Works from some of today’s most compelling artists graced the auction and the halls, reminding us that Kunsthalle Zürich has always been a place where ideas, experimentation, and vision come alive.

I was lucky to be hosted by my dear friend Martina Vondruska, who is part of the Kunsthalle’s gala committee. She did an incredible job orchestrating the evening, and I’m so grateful to her for inviting me to be part of this unforgettable night.

On our way to the event with jewelry designer Angelo De Luca., Co-Founder of Super Mountain in St. Moritz.

Wearing futuristic Cyber Dots by Jean Paul Gaultier and carrying a Moschino masterpiece, quite literally framed for the night.

The dress code playfully spanned the decades, from the 80s, 90s, and 2000s all the way into the future, a living timeline that mirrored the Kunsthalle’s past forty years and its vision ahead.

When fashion meets art: two friends, two Moschino bags, proof that style can be as much a masterpiece as the canvas.

Fittingly, the evening’s motto «Back to the Future» echoed not only the Kunsthalle’s 40th anniversary, but also the 40th birthday of the cult film itself, a double celebration of art, time, and imagination. And yes, the iconic DeLorean car from the movie was parked right in the hall, to everyone’s delight.

Just like the «Not A Celebrity Tequila,» which cares less about the name on the bottle and more about what’s inside, the night itself focused on what truly matters: the essence of art and the people who love it. (Thank you, Gerd Schepers, for the drinks!)

And then came the after-party. DJs «from the future (Zukunft, a former nightclub in Zurich)» transformed the Kunsthalle into a dance floor that stretched through time and space. The night’s theme wasn’t just symbolic, it was experienced, embodied, and danced into the early hours.

Forty years on, Kunsthalle Zürich remains a beacon of artistic energy and cultural curiosity. Here’s to the past, present, and – most importantly – the future.

LoL, Sandra

Part of the auction: Pippa Garner, I’D BE MORE BEAUTIFUL BUT I RAN OUT OF MONEY, 2022

Photos: © Sandra Bauknecht
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