Collector
Basel Brief
works · rooms · people · next move
Represented by Galerie Eva Presenhuber · Beirut → Zurich, Switzerland
Inès Aboukhalil
Light becomes a city. A city becomes a room.
Measurement method
aggregate safeThis artist world demonstrates the visitor-facing memory layer: process, materials, references, on-the-ground rituals, and follow-up prompts. In production, the world can be curated by the artist or their representation and extended by opt-in visitor captures.
Saved path
The artist world is where a saved work becomes context.
A visitor enters through one work, then sees material, reference, place, question, follow-up, and future object story as one visual path.
scansavechoosesend
1
Save
work · place · note
2
Structure
theme · intent · source
3
Choose
private · gallery · aggregate
4
Return
brief · route · intro
5
Afterlife
object story travels
Visual archive
The work can leave the booth as memory, receipt, and living provenance.
First Save
preview day · 11:42
privateopt-inguest
Basel Brief
5 moments · 3 follow-ups
privateopt-inguest
Living Provenance
object story · guest layer
privateopt-inguest
Ready now
The artist world feeds memory, gallery follow-up, sponsor context, and the object story.
one save · five next steps
Gallery
Follow-up queue
artist note · process request · consent
Sponsor
Relationship memo
salon themes · next invitation
City
Spillover map
hotel · bakery · museum · route
Object
Living Provenance
guest story · artist world · timestamp
Studio · Beirut → Zurich, Switzerland
Suspended glass panels carrying projected city-grid patterns — blue and amber pooling on polished concrete, the room rebuilt as architecture out of light.
Process
Aboukhalil works in glass, projection, and the night city. Every piece begins with a sheet of glass — laminated, etched, layered — chosen for how it carries projected light without losing the image to scatter. She tests in her Zurich studio at night, with three CRT monitors and an oscilloscope wired in parallel, watching how a projection across two stacked panels produces depth no single screen can. The source material is footage of cities at night: Zurich's Hauptbahnhof tracks, the Limmat reflections, Beirut's Hamra at 2am. The work is never edited to a final cut. The room finishes it.
The booth · Galerie Eva Presenhuber
Walk in, slow down, and stand in front of the work the way the artist hoped you would.
Ripples · the room compounds your save
Your save just became more valuable because other people are doing this too.
Solo, one save unfolds the world around this work. With other visitors moving through the same threads, the same save also reaches a gallery's pipeline, an advisor's room, a city's spillover, and credits the tastemaker who surfaced the artist for you in the first place. None of it is shared without your permission.
Theme cluster
12 others saved works in this thread today.
Laminated and etched glass + Vintage CRT monitors and oscilloscopes · aggregate count, k≥5. No names. The cluster is what makes a route worth walking — the host city sees the same signal and routes you accordingly.
Overlap · opt-in both ways
Mia, advisor here this week, saved 4 of the same works.
She's at the UBS Patron Breakfast on Sunday. Host-mediated intro available — neither of you sees the other's profile until both opt in.
View sponsor surfaceGallery · serious-collecting signal
Galerie Eva Presenhuber sees 12 qualified signals for Inès Aboukhalil.
Galerie Eva Presenhuber · private viewing Thursday 15:00. You're on the suggested list because your saved reason for interest matches the works they want to show closely.
View gallery surfaceAttribution · the eye gets paid
Clara surfaced Inès Aboukhalil for you 18 months ago.
Introduced at Galerie Mai 36 · Zurich. If you acquire at the edition price, she's credited €240. The recommendation graph compounds — her taste keeps moving, she keeps being paid.
Private by default. Powerful by permission. You decide what travels.
· LIVE RESONANCE · Inès Aboukhalillive
quiet so far. the next save appears here within seconds.
polling every 5s · k-anonymized below intro visibility
Works at Basel
What you'll find at the booth.
Each work is a node in the world. Scan one and you arrive here.
2025
Hamra/Hauptbahnhof (Basel cut)
Multi-channel projection on suspended laminated glass, blue/amber grade
The room is the work. Walk in slow. Stand still for ninety seconds before you move.
Capture this work2024
A City I Have Not Stopped Returning To (small)
Single-channel video on etched glass panel, blue projection, CRT source
The chamber-piece version of the Hamra/Hauptbahnhof work — the city you carry home.
Capture this workMaterials
The matter behind the work.
Laminated and etched glass
8mm and 12mm panels, suspended from steel cable at varying depths so the projection layers.
Vintage CRT monitors and oscilloscopes
She refuses LED for the source loops. The phosphor decay is the point.
City-night footage
Zurich Hauptbahnhof after midnight, the Limmat at 2am, Hamra Street in Beirut. Shot on what she calls 'cameras that don't ask permission'.
Blue and amber projection grade
Zurich blue + sodium-vapor amber. The two color temperatures of a city that doesn't sleep but pretends to.
References
What shaped this work.
books
- The Body in Pain · Elaine Scarry
Foundational to how she thinks about embodied viewing.
films
- Three Colors: Blue · Krzysztof Kieślowski
The color-saturated grief register.
artists
- Anya Lindqvist
Spiritual predecessor — light, time, and screen as one material.
- Nahla Bekheit
Beirut studio-neighbor in spirit — the diasporic Mediterranean lens through different material.
essays
- The Cinematic Body · Steven Shaviro
Why she refuses fast cuts.
Studio score
What plays while she works.
Avril 14th
Aphex Twin
Plays in the studio during late-night calibration passes.
Aïcha
Khaled
Beirut radio register, on the long-take days.
Marble House
The Knife
The syrupy distance — same register as the projection grade.
Basel walks
Where she walks when she's in Basel.
- Rhine walk
She walks the Kleinbasel side at dusk because the wet tram tracks reflect the way she wants her glass to behave.
- Parcours / Clarastrasse
She thinks public art should be light, not object — visible through window, dissolving on closer inspection.
Basel rituals
Where she stops between days.
- Volkshaus Basel
Late-evening conversation booth, second floor. Coffee with milk, no sugar.
- Cafe Frühling
Morning calibration hours — graph paper, mechanical pencil, no laptop.
Expanding show
Recent works · projection room
at Schaulager
She insists Schaulager is the only Basel space cold enough to do justice to her color. She returned twice during install week to recalibrate.
Add this museum to your routeArtist value layer
The story creates qualified interest, not anonymous foot traffic.
Visitors can save the process, ask a sharper question, request the right gallery note, or carry the work into a route. The artist and gallery see privacy-safe resonance: what people cared about and which conversations deserve follow-up.
Privacy boundary
Private saves stay with the visitor. The gallery only sees anonymous resonance unless the visitor explicitly requests a note, studio visit, or follow-up.
Story resonance
Which process, material, reference, or audio card people kept.
Serious interest
Which visitors asked for a gallery note, studio visit, private viewing, or collector education.
World extension
Which routes, books, editions, places, or rituals carried the artist beyond the booth.
Process saved
Laminated and etched glass
The visitor keeps the making logic, not just the image of the work.
Route actionSerious question
Gallery note
Ask Eva Presenhuber which glass-laminate specification this installation requires — Aboukhalil's pieces collapse if the panel thickness or the suspension cable tension is wrong, and the gallery's installation team has the build sheet.
Route actionWorld carried
6 routes out
Books, editions, places, and rituals can keep moving after the booth visit.
Route actionSerious-interest routing
Let the visitor act without turning the artist into an analytics dashboard.
Consent before named follow-up
Artist voice card
0:48 audio cardWhy Hamra/Hauptbahnhof (Basel cut) holds the room
Material signal · Laminated and etched glass
“8mm and 12mm panels, suspended from steel cable at varying depths so the projection layers.”
Saved as private visitor memory first. If enough visitors save this card, the gallery sees only anonymous process resonance unless a visitor requests named follow-up.
Optional context
Open scanned workReturned proof
Choose an action to create a proof packet for Inès Aboukhalil. Private saves stay private; named gallery follow-up requires explicit consent.
What the artist gets understood through
Anya Lindqvist
artist
Spiritual predecessor — light, time, and screen as one material.
Three Colors: Blue
film · Krzysztof Kieślowski
The color-saturated grief register.
A question for the gallery
"Ask Eva Presenhuber which glass-laminate specification this installation requires — Aboukhalil's pieces collapse if the panel thickness or the suspension cable tension is wrong, and the gallery's installation team has the build sheet."
Walk in with a question instead of small talk. The gallery is one node in this world — your conversation becomes a new edge in the graph.
Keep this
A memory card to carry out of Basel.
When you opt in, this artist world becomes part of your Basel thread. The next time Inès Aboukhalil shows in Basel, Venice, or Marrakech, you'll be reminded — not by a marketing email, by your own captured moment.
4 others saved this worldopt-in to see who
Carry this world home
Books, editions, a hotel night, a meal she actually takes.
Every item is a real thread out of this world — into a bookstore, an edition, a reservation, a museum, or a walk. Prices are indicative. Click-through resolves the final price.
6 ways out · partner + affiliate
monograph
Inès Aboukhalil · The Cities I Have Returned To (2024)
via Galerie Eva Presenhuber · publications
Catalogue raisonné of the glass-and-projection works, with an essay on the Beirut-to-Zurich axis.
from CHF 85
edition
Etched glass panel · small format edition of 12
via Galerie Eva Presenhuber · editions
Hand-etched, signed, with a paired digital file for the projection. Sold as an installable diptych.
from CHF 4,800
museum entry
Schaulager · current exhibition
via Schaulager Basel
Inès cites Schaulager's hangar architecture as the closest spatial analog to how her panels want to be seen. Worth a half-day.
from CHF 22
book
Etel Adnan · Of Cities & Women
via City Lights Books
Adnan's letters from Beirut and Beirut-after-Beirut. Inès reads this as a single uninterrupted document.
from CHF 22
reservation
Volkshaus Basel · dinner
via Volkshaus Basel
Inès's Basel dinner stop. Sit in the back room with the brass fittings. Book before 8pm during fair week.
from CHF 95 (3-course)
gallery visit
Galerie Eva Presenhuber · Zurich
via Galerie Eva Presenhuber
The Zurich gallery a 70-minute train from Basel. Inès's primary representation has her larger glass works in the back room.
from free
Partner + affiliate disclosure: items marked affiliate route through partner links and may share a small commission with the artist's world layer. Editions and reservations route directly to the gallery, hotel, or venue.