Eva Lootz

26.9.2025  —
3.5.2026


In cooperation with the Museo Nacional Centro de Arte Reina Sofía, Madrid

Eva Presse 1
Eva Lootz, Serie Nudos, 2011. Courtesy the artist. Installation view Kunsthaus Baselland 2025. © 2025, ProLitteris, Zurich. Photo: Finn Curry
Eva Presse 6
Eva Lootz. Orejas de pelo, 1976 / 2024. Esquina de lana, 2024/2025, Courtesy the artist. Installation view Kunsthaus Baselland 2025. © 2025, ProLitteris, Zurich. Photo: Finn Curry
Eva Presse 5
Eva Lootz. Paño quemado, 1979 / 2016. Habitación de Manila, 1993, Orejas de pelo, 1976 / 2024, Esquina de lana, 2024/2025. Courtesy the artist. Installation view Kunsthaus Baselland 2025. © 2025, ProLitteris, Zurich. Photo: Finn Curry
Eva Presse 4
Eva Lootz, Lágrimas negras, 1997. Courtesy the artist. Installation view Kunsthaus Baselland 2025. © 2025, ProLitteris, Zurich. Photo: Finn Curry
Eva Presse 3
Eva Lootz, Serie ‚Basilea‘, 1988. Cuenca suspendida II, 2009. Courtesy the artist. Installation view Kunsthaus Baselland 2025. © 2025, ProLitteris, Zurich. Photo: Finn Curry
Eva Presse 2
Eva Lootz, Salario, 2004. Courtesy the artist. Installation view Kunsthaus Baselland 2025. © 2025, ProLitteris, Zurich. Photo: Finn Curry
Eva Presse 7
Eva Lootz. Serie ‚Basilea‘, 1988. Courtesy the artist. Installation view Kunsthaus Baselland 2025. © 2025, ProLitteris, Zurich. Photo: Finn Curry

Selected press coverage

NZZ, 28. August 2025

Baseljetzt, 24. September 2025

Radio X, 26. September 2025

BZ, 29. September 2025

Badische Zeitung, 21. Oktober 2025

Kunstbulletin, 28. Oktober 2025

Biel-Benkemer Dorf-Zytig, 31. Oktober 2025

Artline, Dezember 2025

NZZ am Sonntag, 22. Februar 2026

ProZ, März 2026

Project partners


While Eva Lootz was one of the leading pioneers of the 1970s, her work is only now being discovered in all its abundance and astonishing relevance: born in Vienna in 1940, the artist has lived in Madrid since the 1960s, choosing to live and work in Spain at a time when the country was ruled by a military dictatorship that remained in power until the mid-1970s. Making art, as Lootz understands it and understood it from the very beginning, was therefore shaped by political resistance and social and private resilience. For Lootz, being political means, more than anything else, looking closely, listening carefully, and understanding what is being said or read. The materials she uses emphasize softness and poetic fluidity—even when they are made of marble or bitumen—while reflecting the origins of their extraction at the same time: salt, sand, water, stone. Her oeuvre includes drawings, sculptures, videos, photographs, (wall) paintings and site-specific interventions.

In cooperation with the Museo Nacional Centro de Arte Reina Sofía in Madrid and in close collaboration with the artist herself, this exhibition is the first of its kind in a German-speaking country.

You can find a comprehensive text by Ines Goldbach as well as a short bio of the artist here.

Curator: Ines Goldbach and Fernando López (Museo Reina Sofía)