What exactly does ‘uncurated’ mean here, dear Brücki Head Office?

Philip, you run Brücki 235. Who are you?

Brücki 235 is a venue run by and for Zurich’s independent arts scene – dance, theatre and performance. We have two large rehearsal spaces right by the Hardbrücke, where artists can rehearse for a small membership fee. We also organise our ‘performance windows’ four times a year at various venues, where artists can present their projects to an audience in an accessible setting.

If Brücki 235 were not an arts space but an attitude, what would it be?

Collaboration over competition and consumerism – we’re better off together. Sharing a stage enriches us all. Building a space collectively prevents the anonymous, consumerist cycle of checking in and out in exchange for rent, and invites everyone to play an active part in shaping the space. We want to support Zurich-based artists wherever they need it most: with workspaces, a performance platform and a place to meet and network.

‘Uncurated space’ evokes notions of freedom, risk and a loss of control all at once. What does ‘uncurated’ mean to you?

We prefer to speak of a ‘self-managed’ rather than an ‘uncurated’ space. After all, it’s not possible to do without any selection at all when stage space and resources are limited. Instead, the independent arts scene puts together its own programme here: we don’t have an artistic director, but rather a ‘scene director’. This person is chosen by lottery each year from a pool of Zurich-based artists and steps in when more productions apply than can fit into the programme.

So, gatekeeping after all?

The ‘Szenerat’ makes decisions, as far as possible, based on criteria that have nothing to do with aesthetics, taste or subject matter. The overriding aim is fairness: all professional Zurich-based artists should have the chance to perform at Brücki 235.
To prevent discrimination or hate speech on stage, all participants sign our code of values. This covers, amongst other things, trust and responsibility, equal opportunities and diversity, respect and non-violence, artistic freedom, community and solidarity.

Why does Zurich, of all places, need a self-managed space?

Right from the start, during our second run of performances at the Zentralwäscherei, there was a kind of magical coincidence: the performances coincided with Feminist Action Day and, fittingly, numerous artists addressed queer-feminist themes on stage. There was a play about abortion policy in Poland, a piece on misogynistic online trends and a ritual dance about the right to go out in the evening without being harassed.

When connections like this emerge without having been orchestrated by a curator or artistic director, it shows me exactly which issues are currently at the forefront of the Zurich scene. This is precisely the kind of platform Brücki 235 can provide.

Let’s say I’m an artist and I’m thinking: I’d love to do something there. How do I get in touch with you?

Give us a call or send an email. The easiest way, though, is via our website. Here you can register directly, take out a membership, book a rehearsal space yourself and sign up for the performance slots – which usually take place in March, June, September and November – using a simple online form. One of these slots each year is specifically aimed at children and young people.

Such as the performance slot at the Zirkusquartier this weekend. What can we expect?

Our artists transform the Zirkusquartier into a place for big questions, wild imaginations and unusual encounters. They take the audience on journeys – to the moon, through time, into friendship and into fantastical worlds.

With Zeitfresser by Interways Theater, time suddenly becomes very tangible for children aged two and over: a sandbag that slowly empties makes this strange thing called time palpable.

On The Moon by Cie. Youkali asks, both musically and physically, who the moon actually belongs to if humans were to live on it permanently.

And in 25. Anniversary, Hannes and Moritz celebrate their 25-year friendship with personal memories, songs and rituals.

Also on the programme is Clowns On The Road, exploring the various reasons why people set off on journeys – naturally featuring juggling, music and humour – as well as the wild, spooky Pippo In Space , featuring Dada, witch hunts, dystopian clowns and punk.

Tell us one last thing: if Brücki 235 were a song, which one would it be?

Even before the opening in 2023, the interest groups t.Punkt, TANZLOBBY and ASSITEJ had campaigned on cultural policy grounds to ensure that freelance artists in Zurich could secure a place to rehearse even when they were not working on a subsidised production at the Gessnerallee or the Fabriktheater. At the end of 2022, the City of Zurich put the ‘uncurated space’ out to tender, and the three organisations jointly applied under the name Brücki 235. A total of 115 per cent of a full-time post is available for the Brücki headquarters (a team of five people in total). From the outset, the idea was to create a self-managed space with a lean administrative structure and workspaces that would allow those in charge to continue their artistic work alongside their administrative duties. Liliane Koch creates documentary theatre pieces and feminist performances, including with her collective der grosse tyrann. Elena Morena Weber is a dancer, choreographer and director and works with her collective PR·SMA. Laura Serra handles our financial administration and has been active across the cultural scene for years – on the radio, as a DJ, presenter and in production management. Philip Neuberger runs Brücki 235; he also produces his own theatre work, hosts the variety show FRUIT BASKET and works as a freelance production manager.