In bikinis at the museum to explore Cezanne’s The Bathers
In Bikinis at the Museum: A Bold Experiment to Explore Cézanne’s The Bathers
In bikinis at the museum to explore – On a sun-drenched day in early May, the Fondation Beyeler near Basel became a stage for an unconventional art experience. Visitors arrived at the museum in swimsuits, including bikinis, swimming costumes, and trunks, transforming the gallery into a vibrant celebration of Cézanne’s iconic series The Bathers. This unique initiative allowed attendees to bypass the standard entry fee of 25 Swiss francs—approximately 27 euros—by opting for a more casual attire. The event, dubbed Day of the Bathers, was designed to blur the lines between art and everyday life, inviting a fresh perspective on Cézanne’s work.
The idea sparked curiosity and debate among attendees. Julien Rondez, a 34-year-old graphic artist, initially approached the event with skepticism. However, his doubts quickly dissolved as he embraced the playful spirit of the occasion. “I think it’s pretty absurd, but I actually quite like the idea,” he remarked to AFP. “It’s a bit daring for a museum to organise something like this. Then I thought to myself: well, I’ll just play along and come.” His decision to join the crowd in swimwear reflected the event’s success in encouraging participation beyond traditional boundaries.
The concept was born from the mind of renowned Italian artist Maurizio Cattelan, who envisioned a creative dialogue between art and its audience. By hosting the event during the exhibition of Cézanne’s works, the museum aimed to mirror the post-impressionist’s approach to blending human figures with natural landscapes. Cézanne’s The Bathers series, which features nude individuals surrounded by nature, is celebrated for its organic composition and the way it intertwines body and environment. The museum sought to extend this visual harmony into the real world, challenging visitors to step out of their comfort zones and engage with the art in a more immersive manner.
Participants in the event were not limited to the gallery space. Some art lovers took the experience further by donning swimming caps, walking barefoot, and even reclining in the museum’s garden. The decision to embrace this laid-back atmosphere aligned with the sunny weather and the relaxed vibe of the day. For many, the experience felt like a modern reinterpretation of Cézanne’s artistic vision, where the act of wearing minimal clothing became a metaphor for the freedom he sought to convey through his paintings.
Among the attendees was Ana Lopes, a Portuguese architect based in Basel. She arrived at the Fondation Beyeler in a one-piece swimsuit, expressing her enthusiasm for the event. “You can sense in Cézanne’s paintings that he was inspired by nature and wanted to express this organic connection between people and their surroundings,” she explained. “Wearing swimwear brings that feeling closer, as you’re almost entirely exposed, mirroring the way the artist captured the essence of the human form within the natural world.” Her perspective highlighted the event’s potential to deepen the emotional and sensory link between viewers and the art.
“It’s not just about the clothing; it’s about breaking down the barriers that often separate art from its audience. When you’re in a swimsuit, you’re not just viewing the artwork—you’re part of it,” said Ana Lopes, reflecting on the event’s innovative approach.
The organisers hoped this experiment would inspire a broader conversation about the role of museums in contemporary culture. By allowing visitors to enter in swimwear, they challenged the notion of formal dress in art spaces, suggesting that creativity could thrive in any setting. “We wanted to create a moment where people feel unburdened by expectations,” explained a spokesperson. “The goal is to make art accessible and to remind viewers that beauty and expression can exist in the simplest forms.” This philosophy resonated with those who participated, as the event drew a diverse crowd ranging from art enthusiasts to casual visitors.
Participants who arrived in swimwear described the experience as both liberating and thought-provoking. For some, the decision to wear less clothing was a way to feel more connected to the natural elements Cézanne so famously depicted. “There’s something almost sacred about standing in the museum garden in just a swimsuit,” noted one attendee. “It’s like you’re participating in a ritual that celebrates the raw, unfiltered essence of art.” Others saw the event as a humorous twist on the traditional museum visit, blending performance and contemplation in a way that felt refreshingly spontaneous.
Cattelan’s event also sparked discussions about the intersection of art and social norms. While some questioned the audacity of pairing a highbrow exhibition with swimwear, others praised the audacity for its ability to provoke conversation. “Museums are often seen as formal, almost elitist spaces,” said another visitor. “This event reminds us that art can be playful and inclusive, especially when it invites people to engage on their own terms.” The blend of humour and intellectual curiosity seemed to capture the spirit of Cézanne’s own experiments with form and perspective.
The success of the event has been met with mixed reactions from critics and art historians. While some argue that the swimwear concept risks overshadowing the artwork, others view it as a clever way to draw attention to Cézanne’s themes of human-nature unity. “It’s a bold move, but it’s also a fitting tribute to an artist who dared to challenge conventions,” remarked a museum curator. “Cézanne’s The Bathers is about breaking the rules, and this event does the same—bringing art into the realm of the everyday.”
For those who attended, the experience offered a unique opportunity to interact with the exhibition in a way that felt personal and authentic. The museum’s garden, where many chose to relax, became a living canvas, echoing the painter’s vision of harmony between figures and their environment. “There’s a certain intimacy in being surrounded by art while being completely exposed,” said a visitor. “It’s as if the painting comes to life around you, and you become part of the narrative.”
Cattelan’s event is part of a growing trend in the art world that prioritizes audience engagement over passive observation. By encouraging visitors to dress in a way that complements the themes of the exhibition, the museum created a dynamic space where art and life intersect. This approach aligns with the broader mission of the Fondation Beyeler, which aims to foster a dialogue between contemporary and historical works. The exhibition itself, featuring Cézanne’s The Bathers series, has been a cornerstone of the museum’s programming, offering a glimpse into the artist’s legacy.
As the Cézanne exhibition continues until 25 May 2026, the impact of the Day of the Bathers event remains a topic of interest. Organisers hope that this one-day experiment will inspire future initiatives that challenge the boundaries of artistic experience. “We want to encourage people to see art as something that can be both serious and lighthearted,” said the museum’s director. “This event is a reminder that creativity is limitless, and that the act of viewing art can be as fluid as the brushstrokes that created it.”
Ultimately, the event served as a powerful statement about the evolving relationship between art and its audience. By embracing the simplicity and freedom of swimwear, visitors were invited to reimagine their role in the gallery. Whether seen as a bold gesture or a quirky experiment, the Day of the Bathers highlighted the potential for art to transcend its traditional confines and become a shared, living experience. As the sun set over the museum grounds, the echoes of laughter and conversation lingered, a testament to the event’s ability to spark connection and creativity in unexpected ways.
