Anne Keller

Born in Bern, grew up in Lausanne and lives in Geneva
Mother of Louis in 1992 and of Claire and Paul in 1994

Graduated from HEAD (ESAV): plastic research and specialisation in art history in 1996

Studio :
2008-2021 Picto, rue Ernest-Pictet 28
1996-2008 Artamis, rue du Stand 12
1993-1996 Gus, rue des Genadiers 10

Exhibitions and publications :
– Post it, exhibition « I LOVE #ArtisteDici », public display, org. : city of Geneva
– Two editions, market « Click and collect », org. : Espace Topic
– Coincoin, exhibition « Avant demain» (transl. « Before tomorrow »), Penthes, org. Fcac
– Pre-project Oiseaux, aula du collège Rousseau, org. Fcac
– Publication of the comprehensive annotated catalogue,

– Assemblage n°7, with AKIK, web publication for Platforms Project, org. biennale Big
– Correspondance, publication of a text with E. Kukorelly, org. biennale Big
– Lieux et cartels d’exposition, publication of a booklet, with AKIK, org. biennale Big
– Assemblage n°4, with AKIK, Workshop (rrr)ouvre-toi, org. Act-art

– 9 Cartes, exhibition Julkonstwerk, at RU (Ressources Urbaines), org. Elena Montesino
– Monte charge, exhibition « 10 ans de Picto », org. Topic gallery
– Jaune, exhibition « Vulvacious », org. E. Kukorelli, with A. Marzullo H. Fiedler
– Abus de pouvoir, ZabriskyPoint gallery, org. Collectif Nous, Professionnellxs

– Soie sauvage, galerie1pièce, org. Lučka Koščak
– Assemblage n°3, with AKIK, galerie1pièce, org. Lučka Koščak
– Narcisses, exhibition, org. biennale Big
– Assemblage n°2, with AKIK, «Atelier (rrr)ouvre-toi», org. Act-art

– Coincoin, « Vers une esthétique de la disparition » (transl. « Toward an esthetic of disappearance »), exhibition, org. Fcac

– Chaux, with Alain Vaucher, org. biennale Big
– Assemblage n°1, with AKIK, « Atelier (rrr)ouvre-toi», org. Act-art

Article, “La nature des choses notes, sur le travail d’A.K.” (transl. « The nature of things notes on A.K work »), Stéphane Collet

– Calicots, 2m2c Vevey, org. Fondation Woman against mutilations

– Cercle rouge, exhibition “Rathania’s – art similis casus”, org. City of Geneva, Rath museum

    Ruban thermoadhésif, rouge
    Red thermoadhesive tape

    Tape, glue, plywood – Framed 32 x 32 cm


    This tape is of exceptional quality because it is tightly woven with a strong thread.

    I got it from a haberdashery that is going out of business.


    Simulation image Detail image
    1200 .- acquisition form

    frivolité rouge
    Red Frivolity

    Thread, fabric, frame, pins – Framed 42.5 x 42.5 cm


    Frivolity is a lace that requires very little material to make: thread and a small shuttle on which it is wound. That is all that is needed.

    The people who pass on and practice this embroidery are generally women. On the web this creates a particular community of shared experiences without any frontiers, neither cultural, nor economic, nor climatic. The tutorials on the web are published by Russian, Guatemalan, Chinese…, etc.

    It is a sort of vernacular practice in the sense that it is attached to a collective non-scientific knowledge.

    In French, the word frivolité is a synonym for pejorative lightness and this work, while being part of a whole that would like to be serious, affirms the sense of lightness and the taste for finesse. 

    The recycled cotton fabric of the background is chosen because the fabric is exactly the same colour as the thread.

    The independently made embroideries are sewn loosely onto it.

    The size of the picture is determined by the piece of fabric, which is a napkin.


    Simulation image Detail image
    1400 .- acquisition form

    tricot rouge
    Red knit

    Oil, canvas, frame, staples –  80 x 80 cm


    All of a sudden, yesterday when I was retensioning the canvas I was afraid I would tear it.

    Painting a knitted fabric or putting a knitted fabric on a canvas as I often do, is not the same thing. The fragility is not the same.

    Where does the idea of painting a knitted fabric come from?

    Is it an image of protection? But of what?

    I remember that I wrote in the “Correspondance”, that “life seems fragile and there is so much to repair”.

    The real knitting is fragile because it is built with only one thread and if it is cut once, the whole thing comes undone.

    The starting point for this painting is the colour, recycling and maybe the desire to make the investigation of textile works more solid.


    Simulation image Detail image
    4600 .- acquisition form