Exhibition | accessibility.time_to
Techno is more than just hard bass: along with the music, which has spawned numerous subgenres, techno culture embraces fashion, graphic art, design and dance. The first techno tracks, such as Juan Atkins’s “No UFO’s”, inspired by science fiction and produced using a drum machine, reflect the technological developments and zeitgeist of the 1980s. That was the decade in which techno began spreading from Detroit, eventually making its way to Europe and also to Switzerland. Techno events were held early on in Switzerland, making it a magnet for top international DJs. Thanks to the Street Parade in Zurich, one of the largest and most prominent techno events anywhere, techno culture has become part of Switzerland’s living traditions. At its core lies the communal dance experience. Venues include clubs, disused industrial buildings and even the great outdoors. These are safe spaces in which ravers are free to express themselves and make their mark on the dance floor in DIY outfits. But as well as celebrating peace, love and tolerance, techno has its challenges, including noise complaints, drug abuse and gentrification.
The exhibition at the National Museum Zurich shines a spotlight on a culture still embraced enthusiastically by millions of people around the world today. Video and audio installations in a setting designed to look like a record shop take visitors on a journey through the evolution of electronic sound and let them explore the social, political, economic and aesthetic dimensions of techno culture in Switzerland.
Techno culture is increasingly being recognised as a form of intangible cultural heritage, and the steel door with an eventful history has become a symbol of the techno scene. In the 1920s, it protected the vault of a Berlin department store. After the fall of the Berlin Wall, a group of young party organisers set up the Tresor nightclub in that very space (‘Tresor’ is the German word for ‘vault’ or ‘safe’), bringing techno music from Detroit to Berlin. The legendary club, which moved to a new home in 2007, remains one of the top venues for techno events. And now the door is visiting Zurich, another city on which techno has made its mark.
Steel door of the Tresor club, 1991–2005, formerly part of the safe deposit room of the Wertheim Bank, Berlin, 1927
Private collection of Dimitri Hegemann
15:00 – 16:00 Uhr
Fully bookedGuided tour
Guided tour of the exhibition "TECHNO".
Tour: 1 hour
Guided tours can be arranged outside opening hours: Mon between 9.30 am and 6 pm, Tue to Fri between 9.30 am and 7.45 pm. Sat and Sun between 10 am and 5 pm
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2 weeks in advance |
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Duration: |
60 minutes; special packages can be offered on request |
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Group size: |
max. 25 participants per tour |
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Languages: |
English, German, Italian, French. Other offers upon request. |
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Cost: |
CHF 180 for the guided tour + CHF 10 admission per person Children up to 16 years free. For groups of people with permit N, S, B, F (refugee) or F (foreigner), the guided tour and admission are free of charge. |
openinghours.days.long.monday Open till openinghours.days.long.friday openinghours.openfromto.long
Guided tour of the exhibition «TECHNO».
1 hour
Guided tours are free of charge for school classes from Switzerland.
Guided tours in English can be arranged, even outside opening hours. Guided tours are free of charge for school classes from Switzerland.
| Booking: |
at least 2 weeks in advance |
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Duration: |
1 hour guided tours, other services by prior arrangement |
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Group size: |
max. 25 people |
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Cost: |
Guided tours for school classes from Switzerland are free of charge. |
openinghours.days.long.monday Open till openinghours.days.long.friday openinghours.openfromto.long
Release Date: 1978. Label: Kling Klang. Country: Germany / Düsseldorf. Genres: Electro, Synthpop
“Die Roboter” exemplifies Kraftwerk’s pioneering approach to synthesized sound, merging robotic vocals with precise rhythms and futuristic melodies, reflecting the band’s fascination with the role of robots, and man/machine interactions. Kraftwerk was the main entry door to electronic sounds for generations of producers, from hip hop to techno, and beyond.
2. "Bostich (N’est-ce pas)" by Yello
Release Date: 1981. Label: Ralph Records. Country: Switzerland / Zürich. Genres: New Wave, Experimental Pop
The unique dark vocals of Dieter Meier layered over the cinematic sound design created by Boris Blank and Carlos Perón, established Yello as cutting edge pioneers in sampling manipulation, akin to The Art Of Noise. Their eccentric and sophisticated style remains a benchmark in techno pop experimentation crossover.
3. "Dancing Ghosts" by Chris & Cosey
Release Date: 1984. Label: CTI. Country: UK / London. Genres: Industrial, Minimal Synth
Emerging after the era of Throbbing Gristle, a group they shared with Genesis P-Orridge and Sleazy, Chris Carter and Cosey Fanni Tutti’s primitive techno duo influenced artists not only in music but beyond. This gorgeous classic, combining goth, exotica, and electro-pop, remains a landmark in the evolution of electronic avant-garde sound.
4. "Time Space Transmat" by Model 500
Release Date: 1985. Label: Metroplex. Country: USA / Detroit. Genres: Electro Funk
Created by Juan Atkins (previously part of Cybotron with Richard 3070), “Time Space Transmat” helped define the DNA of a whole generation of Detroit techno producers and laid the groundwork for an entire movement of modern dance culture with their futuristic machine music blending afro-futurism, sharp drum sequence and funk(adelic) basslines.
Release Date: 1987. Label: Trax Records. Country: USA / Chicago. Genres: Acid House
Recognized as (one of) the first of its genre, “Acid Tracks” transformed dance music with its squelching (Roland TB-303) basslines and stripped down drums pattern. DJ Pierre and Spanky’s groundbreaking (mis)use of new technologies introduced a raw and mind-altering liquid dimension to dance rhythms, that helped precipitate European club culture into the evil acid house craze.
Release Date: 1989. Label: Big Life. Country: UK / London. Genres: Ambient House
This sprawling, dreamlike 19 minutes composition by Jimmy Cauty (The KLF) and Alex Paterson (The Orb) pioneered the genre of ambient house, weaving together ethereal synth arrangements, floating vocal samples (Minnie Riperton’s “Loving You”), over distant rhythms. The Orb’s fusion redefined contemporary electronica, influencing the chill-out and trance scenes while setting a precedent for long-form sonic storytelling.
Release Date: 1991. Label: Underground Resistance. Country: USA / Detroit. Genres: Techno, Rave
The relentless, high-protein release from Underground Resistance’s X-101 project aka Mad Mike, Jeff Mills & Robert Hood embodies the raw, savage, unfiltered and uncompromising spirit of early rave intensity and freedom. With its pounding bass and dystopian synth stabs, it became a staple of the era, defining the harder, industrial-leaning spectrum of underground dance music.
8. "The Age Of Love (Jam & Spoon Watch Out For Stella Mix)" by The Age Of Love
Release Date: 1992. Label: React. Country: Belgium / Mouscron. Genres: Trance
This remix by Jam & Spoon transformed the original “The Age of Love” version into the birth certificate of trance and was a defining new moment in the rise of euphoric and more melodic club sounds. It set the foundation for the genre worldwide, and remains unequalled today.
9. "Phylyps Track II/II" by Basic Channel
Release Date: 1994. Label: Basic Channel. Country: Germany / Berlin. Genres: Dub Techno, Minimal Techno
A masterclass in minimalism, a long monotonous hypnotic journey through sharp repetitive beats and echo-drenched abrasive textures. Moritz von Oswald and Mark Ernestus’ timeless fusion of mechanical rhythm structures over organic dub aesthetics defined a distinct techno blueprint transcending genres.
10. "Global Warning (Underground Mix)" by Kelli Hand aka K-Hand
Release Date: 1995. Label: Acacia Records. Country: USA / Detroit. Genres: House, Techno
The first techno lady of Detroit showcases her seamless blend of soulful house and swinging techno, on her own Acacia imprint, at a time the scene was ludicrously dominated by men in the 1990s. Her refined production style has cemented her as one of Detroit’s most influential yet often overlooked pioneers in electronic sound.
11. "Fackeln im Sturm" by Grungerman
Release Date: 1997. Label: Profan/ Kompakt. Country: Germany / Cologne. Genres: Experimental, Krautrock-influenced Techno
This is one of the many tunes that embodies Wolfgang Voigt’s leadership in a distinctly German, raw, and advanced approach to electronic (dance) music. The track features a unique fusion of modern, linear rhythms, gritty textures, and granular sound design, creating a bridge between programmed minimalism and pop energy.
12. "Windowlicker" by Aphex Twin
Release Date: 1999. Label: Warp Records. Country: UK / Cornwalls. Genres: IDM (Intelligent Dance Music), Breakbeat
A groundbreaking piece that blends intricate rhythms, roughed up samples and eerie melodies, showcasing Aphex Twin’s wizardry in pushing sonic boundaries. Its surreal and iconic music video, directed by Chris Cunningham, marked a unique fusion of IDM and with mainstream appeal. His productions was, like Kraftwerk, an entry door to another generation of artists to new sounds and possibilities.
You can get a souvenir of the exhibition in the boutique of the National Museum Zurich. You can also buy selected products online.
Please visit our online boutique
Access without ticket
openinghours.days.long.tuesday Open till openinghours.days.long.wednesday openinghours.openfromto.long
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openinghours.days.long.friday Open till openinghours.days.long.sunday openinghours.openfromto.long
Techno culture began making its mark on Swiss music in the 1990s, while also influencing fashion, graphic art and dance. As an expression of social change it sought to establish safe spaces for freedom and expression, and it changed the urban environment. The TECHNO exhibition at the National Museum Zurich shines a spotlight on this movement in all its guises.
Techno originated in Detroit in the 1980s. Inspired by science fiction and driven by the beats of electronic drum machines and synthesisers, Afro-American musicians like Juan Atkins developed a new sound with a strong emphasis on rhythm. Techno quickly grew in popularity in Switzerland after making its way there via the United Kingdom and Germany. Clubs, disused industrial buildings and even the great outdoors became new venues in which to enjoy the communal dance experience.
Zurich’s first Street Parade in 1992, inspired by the Love Parade in Berlin, marked a milestone for the Swiss techno scene. It is now the world’s largest techno party and has helped establish techno culture as one of Switzerland’s living traditions.
Techno thrives on the interplay between various creative disciplines. Techniques such as sampling and collage not only permeate the music, they also feature in graphic design and fashion. Swiss designers’ innovative typographies have helped shape the scene’s visual identity. The fashion world has seen a blurring of the boundaries between subculture and high fashion, with elements of techno culture showing up on international catwalks. And techno has also set new standards in relation to tolerance and diversity: the scene was, and is, a space for celebrating freedom, community and cultural experimentation.
But the movement has also run into barriers along the way. Restrictive venue licensing laws were put in place to reduce night-time noise and prevent alcohol abuse. Up to the mid-1990s, these made it difficult to organise dance parties and open new clubs. The scene reacted by holding unlicensed raves at impromptu locations or by illegally occupying spaces. The rapid growth of the movement and the sense of euphoria it induced brought further dubious aspects to the fore. The music was often considered a disturbance, leading to complaints about noise. Loss of control and ecstasy were a staple part of the techno nightlife scene, causing problems with drug consumption. Innovative prevention services such as drug-checking have evolved in response to this challenge.
The exhibition has been curated with the involvement of protagonists from throughout Switzerland. It provides a comprehensive insight into this multi-faceted scene, its influences on cultural and social policy, and its blossoming as a youth movement. In a setting designed to look like a record shop, video and audio installations featuring the personal stories of people who were there at the time take visitors on a journey through the history of techno culture and how it transformed society. Along with items being exhibited in a museum context for the first time, they make the story appealing even to people who have never had anything to do with techno.
As well as guided tours for schools, the exhibition has an extensive programme of accompanying events that includes encounters both inside and outside the museum, talks, discussions and focus sessions plus a three-day dance event in the museum courtyard.
Special thanks
Marcel Ackerknecht, Stefan Altenburger, Stefan Berger, Garance Bonnard, John Bürgin, Thomas Burkhalter, Gabriela Diez, Olivier Ducret, Manuel Fischer, Helmut Josef Geier, Michel Häberli, Tara Hill, Sarah Hunziker, Nicola Kazimir, Markus Kenner, Petar Klingel, Yann Laville, Robert Lzicar, Michel Masserey, Philipp Meier, Tobi Müller, Thierry Naner, Jonatan Niedrig, Fiona Rody, Dominik Rogenmoser, Jannik Roth, Luca Tavaglione, Isabelle von Walterskirchen, Iman Waser, Diego Zweifel
Studierende der Zürcher Hochschule der Künste, 2022; Teilnehmende der Runden Tische in Zürich, 2023–2024
