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Today

10:00 - 17:00

Opening times

Museum, boutique and bistro

  • Tuesday till Wednesday 10:00 - 17:00

  • Thursday 10:00 - 19:00

  • Friday till Sunday 10:00 - 17:00

  • Monday closed

Library

  • Tuesday till Wednesday and Friday 10:00 - 18:00

  • Thursday 10:00 - 19:00

  • Saturday till Monday closed

Special opening times

  • Family Day 19.10.2025 10:00 - 17:00

  • 22.12.2025 10:00 - 17:00

  • 23.12.2025 10:00 - 17:00

  • Christmas Eve 24.12.2025 10:00 - 14:00

  • Christmas 25.12.2025 10:00 - 17:00

  • St. Stephen´s Day 26.12.2025 10:00 - 17:00

  • 27.12.2025 10:00 - 17:00

  • 28.12.2025 10:00 - 17:00

  • 29.12.2025 10:00 - 17:00

  • 30.12.2025 10:00 - 17:00

  • New Year´s Eve 31.12.2025 10:00 - 17:00

  • New Year´s Day 01.01.2026 10:00 - 17:00

  • Saint Berchtold 02.01.2026 10:00 - 17:00

  • Good Friday 03.04.2026 10:00 - 17:00

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Landscapes of the Soul. C. G. Jung and the exploration of the human psyche in Switzerland

National Museum Zurich | 17.10.2025 - 15.2.2026
published on 15.10.2025

To coincide with the 150th birthday of Carl Gustav Jung, the exhibition shines a light on the history of psychology in Switzerland – with highlights such as Jung’s rarely-seen Red Book, works by artists from Johann Heinrich Füssli to Heidi Bucher, and a look at mental health in today’s world. 

Switzerland has been home to a number of soul searchers over the years, such as Jean-Jacques Rousseau, Friedrich Nietzsche and Carl Gustav Jung. Developments in psychiatry, psychology and psychoanalysis have a close link to Switzerland, which is still in evidence today, for example the pioneering Rorschach test, Ludwig Binswanger’s Daseinsanalysis and Jung’s analytical psychology. To mark Jung’s 150th birthday, the National Museum Zurich is presenting its first comprehensive exhibition looking at the history of psychoanalysis in Switzerland – curated by author and philosopher Stefan Zweifel. 

The exhibition invites visitors to embark on a journey through three major thematic areas: from J. J. Rousseau’s self-analysis and the early history of psychiatry to the rift between Sigmund Freud and Carl Gustav Jung and the significance of psychiatry in the present day. One of the central exhibits is the legendary Red Book in which C. G. Jung made his notes during an intense spell of self-reflection. The original copy of the work has rarely been exhibited to the public. 

Visitors can also look forward to a panorama of art, literature and psychiatric history, featuring visionary works by Johann Heinrich Füssli, Emma Kunz, Rudolf Steiner, Meret Oppenheim and Thomas Hirschhorn, alongside critical works, such as Heidi Bucher’s installation ‘The consulting room of Doctor Binswanger’. Historical objects such as a straitjacket, manuscripts and early psychological test charts provide a broader view of the dark sides and positive aspects of psychology and the study of the human mind. 

But the exhibition doesn’t only look to the past. The third part sees Switzerland as a psycho-geographic space and shifts the spotlight to the present. Interviews with experts from the fields of psychology and psychiatry shed light on how social trends influence our mental health. Young people share their perspectives on topics such as stress, social media and identity and discuss how they cope with the day-to-day challenges of modern life. The exhibition therefore builds a bridge between historical and contemporary ‘landscapes of the soul’.

Images

Heidi Bucher, The Parlour Office of Doctor Binswanger

In 1988, Swiss artist Heidi Bucher (1926–1993) peeled layers of gauze and latex from the walls of Ludwig Binswanger’s consultation room at the Bellevue Sanatorium in Kreuzlingen. Her work engages with female patients such as “Anna O.,” admitted in 1882 for morphine withdrawal, who were later silenced in the history of psychoanalysis. Heidi Bucher, The Parlour Office of Doctor Binswanger, Bellevue Sanatorium, Kreuzlingen, 1988, gauze, fish glue and latex

© The Estate of Heidi Bucher, courtesy of the Estate of Heidi Bucher and Lehmann Maupin, New York, Hong Kong, Seoul and London, photo: Swiss National Museum

A page from the Red Book

In 1913, C. G. Jung began his descent into the unconscious realm as a personal experiment. He entered his inner experiences in the Red Book, which he elaborately documented in the style of a medieval manuscript. C. G. Jung, The Red Book – Liber Novus, 1913–1930, vellum, paper, ink, pigments, gold sheet, leather

© Stiftung der Werke von C. G. Jung, Zürich

From the Red book

The sphere is a symbol of wholeness and the self. It is a motif that frequently appears in the drawings of C. G. Jung. C. G. Jung, The Red Book – Liber Novus, 1913–1930, vellum, paper, ink, pigments, gold sheet, leather

© Stiftung der Werke von C. G. Jung, Zürich

Nightmares

In this painting, the Swiss artist J.H. Füssli (1741–1825), commonly known as Henry Fuseli, illustrated the unconscious. The mare and the demon embody the depths of the soul. Henry Fuseli, The Nightmare, 1790/91, oil on canvas

Freies Deutsches Hochstift / Frankfurter Goethe-Museum, IV–1953–033

Patient image

C. G. Jung had his patients paint pictures as an integral part of his therapeutic approach. This was called ‘active imagination’. Patient image 006. AFAI from the C. G. Jung collection, Bildarchiv, C. G. Jung-Institut Zürich

© C. G. Jung Institut Zürich, Küsnacht

Psychoanalytic Congress

In 1911, C. G. Jung oversaw the third International Psychoanalytic Congress, held in Weimar. For the first time, women are also present, including Lou Andreas-Salomé and Emma Jung. Congress participants, photo: Franz Vältl, Weimar, 1911

© Familienarchiv Jung, Küsnacht

C. G. Jung and Emma Jung-Rauschenbach

In 1903, C. G. Jung married Emma Rauschenbach, herself a pioneer of depth psychology. Engagement picture of Emma and C. G. Jung, 1902

© Familienarchiv Jung, Küsnacht

The break

Sigmund Freud and C. G. Jung exchanged letters for seven years. In the last ones, Jung expresses his opposition to the authority of his intellectual mentor, Freud. The friendship ended on 6 January 1913 with the legendary words: ‘The rest is silence.’ Letter from C. G. Jung to Sigmund Freud, 6 January 1913

© ETH Bibliothek Zürich, Hs 1056:31092

‘Insane Asylum’

Adolf Wölfli, who was a patient at Waldau from 1895 to 1930, mapped the structure of an “insane asylum”. The individual’s own mind and the institution are superimposed, showing how inmates in the ‘panopticon’ of mental institutions felt under constant surveillance. Adolf Wölfli (1864–1930), Irren=Anstalt Band=Hain, 1910, from: Von der Wiege bis zum Graab, issue 4, p. 203, pencil and colored pencil on newspaper, A 9243 - 20(IV/p.203)

© Adolf Wölfli-Stiftung, Kunstmuseum Bern, A 9243 - 20(IV/p.203)

Rorschach Test

Hermann Rorschach made watercolour renderings for the test plates that patients had to interpret. He created various versions and improved the details before they were reproduced in print. Preliminary drawing of the 8th Rorschach plate, Hermann Rorschach, 1917–1918

Archiv Hermann Rorschach, Archiv für Medizingeschichte der Universität Bern

«Landscapes of the Soul» at the National Museum Zurich, 2025

A view of the exhibition

© Swiss National Museum

«Landscapes of the Soul» at the National Museum Zurich, 2025

A view of the exhibition

© Swiss National Museum

«Landscapes of the Soul» at the National Museum Zurich, 2025

A view of the exhibition

© Swiss National Museum

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