Basement Basel

BASEMENT BASEL — THE UN-BASEL is not an exhibition. It is a format. A new art world grammar born underground, in the very halls beneath Art Basel itself.

Here, paintings are not displayed under white light — they are discovered in the dark, revealed by the beam of a flashlight. Film is not passively consumed — it fragments, loops, and collides with reality, projected as living shards across the walls. Visitors move freely between Jan Siebert’s canvases, the cinematic essay Behind the Moment – by Lorenc Berisha, Roman Stehling, Jan Siebert – and live calls with shamans, street survivors, and voices from Brazil, folding distance into immediacy. And in the midst of this constellation, music does not serve as a background. It becomes structure – a living pulse, a collective rhythm of art, cinema, and presence.

This is not art as object. It is art as event — an encounter where the boundaries between viewer, artist, and protagonist collapse. Each visitor steps inside the work, becoming part of a constantly shifting constellation of image, sound, and human reality.

BASEMENT BASEL launches a brand-new format — THE UN-BASEL — a radical counterpoint that doesn’t imitate Art Basel but inverts it, undermines it, and creates something that has never existed before: a global platform where art, cinema, philosophy, and lived reality fuse into one immersive experience.

This is not an exhibition.
This is not a fair.
This is the beginning of a global art revolution.

Basel is only the beginning. From here, the movement expands — to Kyiv, São Paulo, Lagos, Jakarta, Tokyo, New York — rewriting the rules of how art is shown, shared, and lived.

The guardians of convention call it impossible.
We call it inevitable.

BASEMENT BASEL — THE UN-BASEL
The future of art begins underground.