Of this collection of seven works, two were created specifically for the museum to engage in a dialogue with the stone sculpture collection and the Pierre-aux-Dames megalith. Here, stone is never entirely silent.

Since the beginning of their collaboration, the two artists have been developing a sculptural practice that reinterprets traditional craftsmanship. Their sculptures—carved from Rosa Aurora pink marble or red Pyrenean marble and weighing up to 7 metric tons—blend everyday objects (faucets, bathroom fixtures, shoes) with body parts and mollusks. It is as if industrial matter and living matter had, at some point, ceased to be distinguishable. These forms, sometimes described as “ruins of the future,” do not merely narrate the fusion of the organic and the man-made: they present it as a fait accompli. The flesh-like hues of the marble and its veins—which evoke skin as much as rock—maintain a deliberate ambiguity between the living and the non-living.

The installation, which visitors can walk through, transforms the courtyard into a constantly changing living space.

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Courtesy of the artist, Musée d’art et d’histoire (MAH) and Antenna Space.

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Daniel Dewar & Grégory Gicquel: PlasMAH: Flesh and the Siphon

2026.07.16

Musée d’art et d’histoire (MAH), Genèva, CH