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Alizé Rose-May

@_lavender__june

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2026 Stipend @acstipendium
Artist in Residence @fundaziunnairs
🔛 Cruising the Countryside @schwulesmuseum
🔛 @minischwizdinischwiz

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"Testimony Of A Forget-Me-Not" (2026) brings together personal, community, and partly fabulated archives and explore the possibility of queer memory and visibility. It questions the queer community’s relationship to illness (and to the concept of illness), which has been profoundly shaped by the AIDS epidemic and the pathologization of homosexuality until 1990. This historical legacy has had lasting effects on the mental health of queer people and demonstrates how medicine can participate in the production and legitimization of social norms. Ann Cvetkovich’s text "Depression: A Public Feeling" forms the basis of a reflection on (chronic) illness. Combining memoir and cultural criticism, Cvetkovich searches for ways of describing depression as a public, cultural, and political phenomenon rather than as an individual medical pathology. Between visibility and invisibility, the question arises of how it is possible to speak about illness and disease oneself, but also to allow others to bear witness - beyond the «resistance of pain to language». Further texts by Susan Sontag, Sara Ahmed, Audre Lorde, Barbara Hammer, and Virginia Woolf - all queer figures - accompany this journey through the archives.

The work consists of five collaged objects that, like history itself, are not meant to be read linearly. In the middle, a handmade stained glass (thanks for the support @aus_altglas) is composed of different elements pieced together like memories. On the left, a curtain sewn from “Micasa” bed linen conceals access to language and the expression of pain. Beside it, two eyes are watching. Are they administrative eyes - those of the health insurance company? Those of society? Those of family members - witnesses to recurring pain? The fourth frame adresses the community that was present during the AIDS epidemic. While the state ignored HIV-positive people - often men from the queer community - and allowed them to die of AIDS, lesbians cared for them: They nursed, accompanied, and said goodbye to their peers, while simultaneously trying to protect themselves. The last object is a return to a sense of safety, to “Home Sweet Home,” when the body itself can no longer be experie by @_lavender__june

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Hiking Against Fascism, episode 2, feat. James Baldwin in 1970. by @_lavender__june

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14 days ago

FC CHAYA at 2'792m by @_lavender__june

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25 days ago

Exhibition views of Alizé Rose-May @_lavender__june

Did You Know That The Edelweiss Isn't A Flower, But A Set Of A Thousand Florets Gathered Into Several Heads?
2025

Kissing In My Subaru 25.10.-6.12.
Photos: Cedric Mussano
Curated by Alizé Rose-May @_lavender__june and Eva-Maria Knüsel @eva_knuesel
Stadtgalerie Bern @stadtgalerie_bern by @_lavender__june

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Hiking Against Fascism, episode 1, quoting Audre Lorde. "Es sind nicht unsere Unterschiede, die uns trennen. Es ist unsere Unfähigkeit, diese Unterschiede anzuerkennen, zu akzeptieren und zu feiern." by @_lavender__june

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Home is where, 2026 (ongoing analog series 2023-) by @_lavender__june

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**MEET THE ARTIST**

ALIZÉ ROSE-MAY

Alizé Rose-May (they/them, *1990) grew up in the Alps and comes from a working-class mountain family. In their artistic practice - which encompasses video, photography, objects, research, curation, and teaching - they explore through storytelling relationships and concepts of kinship and family, tradition, connection, collectivity, and fabulated spaces of togetherness. Their interests include the archive, the gaps in historiography, and the question of how collective living can be made possible. They address aspects of everyday queer life and bring overlooked stories to the fore by drawing on queer semiotics and a vocabulary of intimacy. They have been working in Bern for ten years, have taken part in several residency programs (f.i. Summer Academy Paul Klee; Cairo; Genova) and have shown their work locally, nationally and internationally (f.i. Schwules Museum, Berlin, 2026; oxyd, Winterthur, 2025; Sonnenstube, Lugano, 2023; Spazio in Situ, Roma, 2020).

Photo: Karin*Etienne Scheidegger

Graphik: Lea Knutti @lea.kn

**MEET THE ARTIST**

ALIZÉ ROSE-MAY

Alizé Rose-May (they/them, *1990) grew up in the Alps and comes from a working-class mountain family. In their artistic practice - which encompasses video, photography, objects, research, curation, and teaching - they explore through storytelling relationships and concepts of kinship and family, tradition, connection, collectivity, and fabulated spaces of togetherness. Their interests include the archive, the gaps in historiography, and the question of how collective living can be made possible. They address aspects of everyday queer life and bring overlooked stories to the fore by drawing on queer semiotics and a vocabulary of intimacy. They have been working in Bern for ten years, have taken part in several residency programs (f.i. Summer Academy Paul Klee; Cairo; Genova) and have shown their work locally, nationally and internationally (f.i. Schwules Museum, Berlin, 2026; oxyd, Winterthur, 2025; Sonnenstube, Lugano, 2023; Spazio in Situ, Roma, 2020).

Alizé Rose-May, Did You Know That The Edelweiss Isn’t A Flower, But A Set Of A Thousand Florets Gathered Into Several Heads? by @_lavender__june

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23 days ago

«Crossroad – Home in Motion»
Gruppenausstellung
04.07. – 27.09.2026

Alizé Rose-May (*1990) | @_lavender__june | https://linktr.ee/alirosemaymonod

Viele Vorstellungen von Heimat sind eng mit Familie, Tradition oder Herkunft verbunden. Welche dieser Bilder möchtest du mit deiner Arbeit erweitern, hinterfragen oder bewusst verschieben? Warum?

«Das Konzept der Familie sowie viele Traditionen tragen zum Konstrukt des Mythos ‘Schweiz’ bei. Die Kernfamilie als Institution ist so zentral in der Vorstellung von dem, was das Land ausmacht, und viele Traditionen werden ebenso als identitätsfördernd verstanden. Die heterosexuelle Reproduktion vermittelt nur eine bestimmte Form von Glück, nur eine bestimmte Vorstellung davon, was ein „gutes Leben“ sei. Laut der Philosophin Sara Ahmed reiche die Homoehe aber nicht aus: Sie sei nur eine Anpassung an bestehende Formen. Man könne — ja, man müsse sie sogar — vandalisieren, besetzen, queeren: als Nest benutzen, das sie nicht sein sollen.»

Foto: Karin*Etienne Scheidegger

Unterstützt durch:
@stadtluzern @kantonluzern #ernstgoehnerstiftung #arthurwaserfondation @migrosluzern @migrosengagement #casimireigensatzstiftung @kantonzug @kantonuri @kantonbaselstadt @luzerner.bier #kunsthalleluzern taken in Kunsthalle Luzern by @_lavender__june

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a month ago

Home is where, 2026 (series 2023-), analog by @_lavender__june

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a month ago

Mit «Un:passing» (2026) präsentiert Alizé Rose-May schwarze Silhouetten von Vögeln an der langen Glasfront der Kunsthalle Luzern. Sie erinnern an Vogelschutzaufkleber, wie sie aus ländlich-alpinen Räumen bekannt sind. Die Aufkleber machen eine kaum sichtbare Grenze erkennbar und sollen verhindern, dass Vögel gegen Glas prallen. Schutz bedeutet hier nicht einfach Geborgenheit, sondern verlangt Aufmerksamkeit: Zeichen müssen erkannt, Gefahren eingeschätzt und Bewegungen angepasst werden. Die Arbeit fragt, wer eine Grenze rechtzeitig erkennt, wer ausweichen muss und wer sich durch Räume bewegt, die nicht für alle gleich sicher oder offen sind. Die Glasfront der Kunsthalle wird dabei selbst zum Schwellenraum. Sie gibt den Blick nach innen und aussen frei und bleibt dennoch eine Grenze. Die Vogelsilhouetten machen diese Ambivalenz sichtbar: Was transparent und offen erscheint, ist nicht automatisch zugänglich.

Text: Marius Geschinske

Crossroad - Home in Motion
03.07. - 27.09.26
@kunsthalle_luzern
Curation: Marius Geschinske
Documentation: Kilian Bannwart @kilianbannwart by @_lavender__june

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3 months ago

rich in life because i have the cutest friends ❤️❤️‍🩹 got a stipend @acstipendium @kunsthauslangenthal last wednesday! 👀 sneak peeks into my last work "Testimony Of A Forget-Me-Not" (2026) around the idea of illness and its impact on the queer community. ✖️if you can vote in switzerland: a loud NO to the svp initiative on june 14th! (visual @woz_die_wochenzeitung ) by @_lavender__june

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5 months ago

Telling Stories (Tracy Chapman) / analog by @_lavender__june

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10 months ago