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Natascha Moschini

@nataschamoschini

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Performer, Choreographer & Visual Artist

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#prohelvetia_shanghai #swissartscouncil #prohelvetia_residency #3 #evaseck

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Residency video with @nataschamoschini Supported by @prohelvetia #ACENTRICSPACE #artistinresidence #prohelvetia_shanghai #SwissArtsCouncil #prohelvetia_residey 12 Nov 2026

September I remember coming into this world riding on a fish — a fish that was just as big as I was. I had almost forgotten about that. The memory comes back to me as I walk along the canals of Zhujiajiao, watching the local residents go about their everyday tasks at a leisurely pace. I wonder if the river fish bring them children, too? My daily walks through the touristic Acient Watertown first take me through quieter, less busy alleyways. At a set of steps leading down to the water, an elderly woman is busy cleaning her trainers. What reveals itself to me here is an intimate relationship with water. I have never before had the chance to watch someone washing their laundry in a river. I observe my own thoughts and almost feel a little ashamed of my western hypocrisy, which threatens to destroy this intimate image: Is the water clean? Are the detergents harmful to the ecosystem? Then I see others fishing very calmly along the riverbanks, from steps and jetties. To pass the time? For dinner? In the evening, at one of the many restaurants in Zhujiajiao, Liu points to a dish: scrambled eggs with fish from the local river. They are tiny, white fish, eaten whole. It reminded me of selling fish sandwiches at a kiosk along the Elbe in Hamburg during my student days. The tourists thought the fish had to be freshly caught from the river. Wrong. Bulk purchase at Metro. 📷 0: Me :-) Photo by @maggie_xwen 📷 1: Study, 2026, Natascha Moschini 📷 2: Zhujiajiao Ancient Watertown 📷 3: Zhujiajiao Ancient Watertown 📷 4: Zhujiajiao Residency Welcome Dinner 📷 5: Zhujiajiao poster campaign 📷 6: Zhujiajiao sunset @acentricspace @prohelvetia #prohelvetia_shanghai #SwissArtsCouncil #prohelvetia_residency 12 Nov 2026

@nataschamoschini residency work During her three-month residency in China with Pro Helvetia Shanghai, Natascha Moschini explored how we relate to bodies of water through stories and tales. Her starting point was Undine, an elemental water spirit from European folklore and literature, a figure of grief, longing and warning. In the tale, Undine gains a soul by marrying a mortal man, who then betrays her. From there, Moschini turned to Mazu, another female figure bound to water, but one of protection rather than loss. Mazu was a fisherman’s daughter and an excellent swimmer, who came to be venerated after saving her father and brothers from the sea. Her research then led her to the old water town of Zhujiajiao, which lives largely from water-based attractions and tourism. The town’s Fangsheng Bridge, built in 1571, takes its name from fangsheng, “releasing fish”, an act understood in Buddhist tradition as a gesture of mercy that earns merit. These stories describe our relationship with nature: water gives and takes life, we depend on it, and yet we exploit it. Out of this research emerges a contemporary Undine, through which Moschini seeks to unsettle our ideas of responsibility and guilt within a dependency we cannot escape. The end-of-residency exhibition opens up her research through performative sketches and drawings on paper. Supported by @prohelvetia #prohelvetia_shanghai #SwissArtsCouncil #prohelvetia_residency #ACENTRICSPACE #artistinresidence 02 Nov 2026

Save the Date 8.12., Philosophies of the Body with @nataschamoschini @hsmbasel_music_and_scene Natascha Moschini is a choreographer and visual artist exploring the ethics, aesthetics, and politics of the human body. Her work investigates societal power structures, making invisible dependencies tangible. Through movement, spatial interventions, and conceptual research, she reveals and reconfigures structures of injustice, often working at the intersection of performance and interdisciplinary inquiry. Her work seeks new dramaturgical and choreographic forms that disrupt, question, and reimagine the body’s role in society. Natascha Moschini is a perfor-mer and dance artist who studied contemporary dance in Antwerp, performance studies in Hamburg, and contemporary arts practice in Bern. Her work oscillates bet-ween the poetic and political intersections of the human body. Through choreographic and dra-maturgical forms, she continually re-examines how social power relations manifest in physicality and are thereby expressed. Her practice is situated within move-ment, spatial interventions, and conceptual research. She questi-ons existing inequalities, moving between performance, drawing, and interdisciplinary research. In these contexts, she combines precise observation with a keen sense of interpersonal tensions. In 2022, she received a develop-ment grant from the Performing Arts Committee of Basel-Land-schaft and Basel-Stadt and ini-tiated a collaborative research project on the dramaturgy of fear. Moschini was a participant in the “danse et dramaturgie” program as well as the “handle with care” lab within the Swiss Theater Net-work. She was a fellow at the Akademie Schloss Solitude (2016) and an Associated Artist at the Dampfzentrale Bern (2020/21). Most recently, she completed residencies at La Ma Residency (IT), Studio Meridional (FR), and Raumstation (DE). In 2024, she was awarded the Landis & Gyr Foundation’s Work Grant. During the 2025/26 season, she is a Lab Artist at Kaserne Basel and in the summer of 2026, a resident artist at Pro Helvetia Shanghai. www.nataschamoschini.com 30 Oct 2026

Starting to look back across three months of residency August: Undine is the tale of an elemental water-spirit I have been living with and cultivating in my practice for some time — a figure of grief, longing and warning; perhaps a figure for a nature once loved, now declared endangered. My one month residency in Macau became another place to listen for her: in the sound of a descending aircraft, in temples, in searching out depictions of Mazu (Tin Hau), in news of record-low rivers in Europe surfacing wartime wrecks, in a tattoo on a stranger’s shoulder that I found myself following into the city, here and there, in the rituals of giving during ghost month, on the artificial beaches of a fast-grown city, on an island in the South China Sea. These are quick impressions, photos made while walking the streets of Macau, Zhuhai and Cheung Chau Island. 📷 0: Me :-) Photo by @kylieeeeew 🎥 1: Decent 📷 2: Temple 📷 3: Record Low Rhein 📷 4: The Watery 📷 5: Zhuhai 📷 6: Chueng Chau Island @oxwarehousemo @prohelvetia #prohelvetia_shanghai, #SwissArtsCouncil, #prohelvetia_residency @kylieeeeew @junyan542 27 Oct 2026

Upcoming exhibition, What Cannot Be Held, with @nataschamoschini @diedayee @_noahspivak_ @malgorzata.l.kubicka Opening 2026 October 25th. 4PM We are always trying to hold on to certain things: the forms of nature, fading memories, the traces left by time, and the experiences that continue to shape us. Yet the world is constantly changing. We can document, recount, and preserve, but we cannot make everything remain as it is. What Cannot Be Held brings together the works and research developed by four artists during their residencies. Drawing on different cultural backgrounds and personal experiences, they explore how time, memory, nature, and identity leave their traces through ongoing processes of change. Water, materials, words, and memories take on different forms in these four artistic practices, yet they converge on a question that resists easy answers: when something no longer exists in its original form, has it truly disappeared? Perhaps to hold on to something does not mean keeping it unchanged forever. What cannot be held may continue to exist as traces, memories, or transformed forms, quietly reshaping the ways we understand the world. Supported by @prohelvetia @bscf2009 #prohelvetia_shanghai #SwissArtsCouncil #prohelvetia_residency #釜山艺术家 #釜山文化财团 22 Oct 2026

New resident artist @nataschamoschini Natascha Moschini is a choreographer and dance artist based in Basel. Her work investigates how power settles into the body and resurfaces through it—as inheritance, fear, or exploitation within relationships that are meant to be intimate and reciprocal rather than extractive. Moschini's practice is grounded in long-term, collaborative research. Each project evolves through an exchange between conceptual inquiry, embodied experimentation, and dialogue with artists, dramaturgs, and specialists from other fields. Rather than beginning with a fixed choreographic vocabulary, she develops each work through movement, spatial interventions, material experimentation, and site- or subject-specific research. Her artistic practice has developed across a range of contexts and formats, including Danse et Dramaturgie and the Handle with Care Lab within the Swiss network of theatre houses; a Fellowship at Akademie Schloss Solitude (2016); and a period as Associate Artist at Dampfzentrale Bern (2020/21). In 2022, she received a development grant from the Fachausschuss Darstellende Künste BL & BS to support her research on fear, followed by a working grant from the Landis & Gyr Stiftung in 2024. She is Lab Artist at Kaserne Basel in 2025/26 and an artist in residence with Pro Helvetia Shanghai, the Swiss Arts Council, in summer 2026. Supported by @prohelvetia #prohelvetia_shanghai #SwissArtsCouncil #prohelvetia_residency #ACENTRICSPACE #artistinresidence 09 Sep 2026

【UNDINE——關於水體及其神話的研究 Research into Bodies of Water and Their Myths 】駐場成果分享 Residency Sharing by Natascha Moschini ◌ 《UNDINE》是一項跨領域研究計畫，旨在探索與歐洲上萊茵地區相關的水精靈「Undine」的神話。透過檔案研究與身體實踐，探討神話如何形塑我們與水體的連結——以及反過來，我們與水的關係又如何形塑神話。 Moschini 探究當地的水故事、經濟力量與環境變遷，如何同時影響水體本身及其周邊的社區。融合民間傳說、表演與場域研究，《UNDINE》反思水賦予與奪取生命的能量，以及我們如何與水互動並呵護它。在澳門和上海， Moschini 探討對媽祖／天后等海神崇拜的現象，同時也關注那些曾經在旅行與運輸中扮演重要角色、如今卻日益受到觀光業影響的傳統水鄉。這些變化引發了關於人們如何與水互動，以及文化、社會與環境變遷如何影響這些地方及其居民的諸多疑問。 UNDINE is an interdisciplinary research project exploring the myth of Undine, the water spirit associated with the Upper Rhine region of Europe. Through archival research and embodied practice, the project looks at how myths shape our connection to bodies of water—and how, in turn, our relationship with water shapes myth. Moschini explores how local water stories, economic forces, and environmental change affect both the waters themselves and the communities living alongside them. Blending folklore, performance, and site-based research, UNDINE reflects on water’s power to give and take life, and on how we relate to and care for it. In Macao and Shanghai, Moschini looks at the worship of sea deities such as Mazu/Tin Hau, as well as at traditional water towns that were once important for travel and transport but are now increasingly shaped by tourism. These changes raise questions about how people relate to water, and how cultural, social, and environmental changes affect both the places and the people who live there. ◌ ༄ 時間 Time：2026.08.30（SUN） 7:00pm ༄ 地點 Venue：澳門黑沙環巷10號發利工業大廈9樓A座（SHOTCUT Production）Tv. da Areia Preta, No. 10, Edificio Industrial Fat Lei, 9/F A, Macau 報名請見首頁連結 Register link in BIO ◌ Natascha Moschini 在瑞士巴塞爾生活及工作，是一位表演者兼舞蹈創作者，其作品探討人體美學、詩學與政治性。她探究社會權力結構如何銘刻於身體之中，並透過身體得以展現。她的創作根植於身體探索、空間介入與概念研究，發展出能反思身體在社會中所扮演角色的編舞與戲劇構思形式。(English version in comments) - 該活動由瑞士文化基金會資助 Sponsored by Pro Helvetia @nataschamoschini @prohelvetia @prohelvetia.shanghai #prohelvetia_shanghai #SwissArtsCouncil #prohelvetia_residency 20 Aug 2026

GESPENSTER NOTES I think I can recognize a shape, a form— a manifestation of something long past. A presence I long to invite into the open, to let itself be seen. Beneath the surface you are always at work, working hard. Urging to repeat yourself. Tell me— is it because you were hurt? — I think the shape of a ghost is telling us something— not only about how we used to bury our dead, but also about the problem of how to depict what lingers from the past. A bedsheet is a very clever design: it speaks of absence and presence, of someBODY both here and gone, and of how things do not work alone, but are always interconnected. 📷 1: Probeaufnahme Zoom In 📷 2: Screenshot Notizen 🎥 3: Performancepreis Schweiz im Kunstmuseum Basel 2025. @swiss_performanceartaward 📷 4: Totentanz Basel 📷 5: Kärcher Screenshot Werbevideo Danke @rebeccadebautista für die graphische Unterstützung <3 30 Jul 2026

Cliffhanger #3 22./23. Mai 2026 UNDINE Residency Showing @kasernebasel Lieben Dank an Magda Drozd, demi Jakob, Marie Jeger, Lea Kieffer, Louisa Raspé, Eva Seck und das Kaserne Team. Fotos: Frank Ellenberger Support Fachausschuss Darstellende Künste BS/BL @magda_drozd_ @demianjakob @marieieger @lk.leakieffer @louisa___raspe #evaseck 14 Jul 2026

✨How can an exhibition be experienced through movement? In this Physical Introduction, @kasernebasel LAB Artist Natascha Moschini introduces «Angelica Mesiti. Reverb» not through words, but through simple physical exercises. The format awakens the senses and heightens perception, preparing participants for the exhibition’s video works. Open to all ages and movement levels. 🪐Sunday, 26 July 2026, 3 pm Costs: museum admission Images: 1: Angelica Mesiti, The Rites of When (video still), 2024 © 2026 ProLitteris, Zurich; Copyright the artist / 2: Natascha Moschini by Fabienne Bieri #AngelicaMesiti #Reverb #MuseumTinguely 13 Jul 2026

This summer, I had the pleasure of getting to know Steph Creaghan and supporting their video work Fool’s Spring. It was such a joy to squabble over a lollipop and swap ideas about the best ways to kill off our protagonists. @saintcreaghan 🤍 11 Jul 2026

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