Art in Motion near the Kulm Hotel St. Moritz

The curated exhibition Art in Motion unfolds as an Art Show in a specially constructed tent dedicated to movement in its many forms. The exhibition gathers artists who engage with motion not as spectacle, but as a condition shaped by the interplay between landscape, material, and attitude.

Diana Segantini’s own connection to the Engadin is specific. She grew up in Maloja, at the upper end of the valley, surrounded by nature and bathed in the region’s ever-changing light. Her great-grandfather, the painter Giovanni Segantini, was drawn to the Engadin by its altitude, raw climate, and a particular clarity of view. “Maloja is a demanding place,” Segantini says. “It sharpens your senses and your perception.” That sensitivity to place continues to inform how art is contextualised in the region today. In the Engadin, the experience of art is inseparable from the presence of the landscape itself.

For Art in Motion, Segantini brings together local, national, and international artists, creating a constellation that reflects the plurality of the region. Rather than presenting a single narrative, the pavilion allows parallel perspectives to coexist. A broad range of artworks, from sculpture to photography, engages with ideas of movement, speed, and transformation. “Art should touch you first,” Segantini notes. “You can love it, reject it, or remain indifferent, but it has to create a reaction.”

The Kulm Hotel St. Moritz frames this encounter. Long associated with the cultural history of St. Moritz, the hotel has repeatedly opened its grounds to artistic projects that extend beyond traditional exhibition spaces. During The I.C.E., the Exhibition Lawn offers visitors a moment of pause within the bustling rhythm of the event.

This openness is echoed a little further across the hotel’s grounds. In December, the Pink Mirror Carousel by Carsten Höller appeared on the ice rink. Not conceived as part of Art in Motion, it nonetheless contributes to a shared moment in which different artistic gestures coexist. In conversation, Segantini mentions Höller as a friend, pointing to how personal relationships and artistic practices can intersect in St. Moritz.

Segantini’s approach is defined by a deep familiarity with the region’s cultural ecosystem, andcollaboration plays a central role in her curatorial thinking. Beyond well-known institutions such as the Segantini Museum or the Engadiner Museum, the Engadin is home to a network of smaller museums, ateliers, and cultural initiatives. She points to places such as Muzeum Susch or local initiatives from Zuoz, to Sils and Maloja , where art and regional history remain closely intertwined. “One of my main intentions was to bring together the cultural actors of the Engadin,” Segantini says. “In fact, all the galleries and cultural stakeholders across the region are participating.”

Accordingly, Art in Motion does not seek to compete with its surroundings. Instead, it exists alongside them. Much like the Engadin itself, it allows different worlds to meet without being forced into a single story. In this openness, the exhibition finds its pace, shaped by the perspective of a curator working from within the landscape she knows intimately.

Art in Motion is on view during the International Concours of Elegance St. Moritz and can be experienced on the Exhibition Lawn of the Kulm Hotel St. Moritz throughout the event. The exhibition brings together works by Swiss and international artists, including John Chamberlain, Sylvie Fleury, Thomas Ruff, Not Vital, and Rolf Sachs, among others.