MAZE Design Basel is a new design show that debuts this week in Switzerland. Open June 16 and 17 to the public, it takes place in the Offene Kirche Elisabethen. The Gothic Revival-style church is just across the street from Kunsthalle Basel, making it a must-see stop on your Basel visits this week.
In a cultural landscape saturated with art fairs and design expos, MAZE emerges as something far more intimate, immersive, and intentional. Founded by curator and cultural strategist Thomas Hug, MAZE is not just an event—it’s an active salon that challenges conventional models of art presentation and rethinks the very act of gathering. With its roots in the success of Art Gstaad and a vision grounded in storytelling, ritual, and site-specificity, MAZE brings together artists, collectors, curators, and creatives in unexpected geographies and ceremonial settings.
Participating galleries at MAZE Design Basel include Galerie Gastou, Jousse Entreprise, Ketabi Bourdet, Kreo, Laffanour – Galerie Downtown, Meubles et, Lumières, Mitterrand, Pierre Marie Giraud, Salon 94, Thomsen Gallery, Thomas Fritsch – Artr and special projects by Nikos Koulis Jewels, Reflets de Nouvel, and JRP|Editions.
Whitewall spoke with Hug about MAZE’s founding, the guiding principles that shape each edition, and why experiences—woven with music, gastronomy, and symbolic scenography—matter more than spectacle.
A Vision to Rethink Design Fairs with MAZE
WHITEWALL: MAZE was born out of a vision to rethink the format of design and art fairs. What was the initial spark that led to its creation?
THOMAS HUG: The idea behind MAZE was to propose a new constellation of salons that would go beyond the traditional format of art and design fairs. This event brand was inspired by our first Art Gstaad, which took place in a magical Alpine location at a key time of the year, when many collectors were present. We really went to them.
For us, it was essential to create a format that felt both grounded in place and open to the world. We wanted something more responsive—something that could foster both intimacy and collectivity. We envisioned a platform where artists, galleries, and collectors could gather not only to transact but to reflect and engage in new ways. The idea was also to provide free and meaningful participation for those outside the usual art circuits—a space of inclusion, not exclusion.
“It was essential to create a format that felt both grounded in place and open to the world.”
—Thomas Hug
WW: What makes the MAZE experience different for its participants?
TH: From the beginning, MAZE was meant to be a different experience—one that brings together international and local publics in a dynamic exchange and with an exclusive artistic offer in a human-sized format. What struck me was how visitors, including local residents and international collectors, were genuinely invested in the dialogue. There’s a collective curiosity that shaped each edition. We observed deep engagement— not only with the artworks, but also with the scenography, the rhythm of the event, and the people involved. It was both structured and spontaneous.
“From the beginning, MAZE was meant to be a different experience.”
—Thomas Hug
Thomas Hug on MAZE Design Basel
WW: You mention context and site-specificity. How does MAZE adapt to its location?
TH: Each edition of MAZE is co-created with its host city. The salons are in dialogue with local environment or architecture, and history. Rather than imposing a neutral format, we activate spaces through language, symbolism, and memory. This gives MAZE a singularity—each location is different, and the salons evolve with the geography, culture, and social energy around them. We are especially interested in how these gatherings can feel ceremonial, but not rigid. There is something sacred in how we collectively share and respond.
WW: What role does storytelling play in MAZE’s curatorial vision?
TH: Storytelling is the backbone of what we do. Rather than focus only on artworks, we’re working with broader cultural narratives. Each salon is a ritual space where stories—historic, spiritual, aesthetic—are not only shared but embodied. Our scenography reflects this as well. It’s about breaking away from the white cube logic and exploring a design of experience that is emotional, sensual, and symbolic. Visitors are not just spectators—they become part of the story we’re telling.
“Storytelling is the backbone of what we do.”
—Thomas Hug
Gastronomy’s Influence on MAZE Programming
WW: How do disciplines like music and gastronomy fit into the experience?
TH: They are central pillars. Gastronomy becomes a space for gathering and conversation, and music brings rhythm, memory, and texture to the experience. We work across genres—from classical to contemporary, from experimental sound to composed performances. I come from a musical background, and that multiplicity is important to me. We even went so far as to commission the composition of an orchestral work that was intended for the sole guests of a single evening. This show how much love is put into our salons.
As far as gastronomy is concerned, we organize collectors dinners in the frame of our salons and in original locations. And we’ve even organized with MAZE ChefsXArtists Milano to offer an evening festival inviting an international chef to dialogue with an artist’s exhibition. But we also incorporate other forms of expression into our events, such as fashion défilés by designer Sarah Bounab in our salons, or comic strips that illustrate our MAZE Art Columns journal.
WW: What kinds of partnerships are key to developing MAZE?
TH: Strategic partners play a vital role. We work with brands and institutions that share our values and long-term vision. For example, collaborations with F.P.Journe, a master of watchmaking, and Chanel Haute Joaillerie allowed us to delve into questions of time, memory, and material excellence within the salon. These are not decorative partnerships—they are active contributions to the curatorial narrative. When a brand embraces the idea of MAZE as a cultural and intellectual space, something powerful happens. We co-create rather than sponsor.
MAZE Expands Beyond Europe
WW: Is MAZE limited to Europe, or are you exploring other geographies as well?
TH: Europe is a natural home base, but we are actively exploring other continents—places that resonate with the MAZE philosophy and can offer something new to the experience. We are interested in contexts where the cultural language is rich, layered, and ready to engage in this type of collective experimentation. Whether it’s Latin America, the Middle East, or Asia, the key is to remain humble, listen, and build from the ground up.
“We are interested in contexts where the cultural language is rich…”
—Thomas Hug
WW: What’s next for MAZE?
TH: We’re working on several upcoming editions and expanding our editorial and discursive components. More than ever, we feel it’s time to slow down and rethink how we gather, why we show, and what kind of cultural future we want to shape. MAZE will continue to evolve—responsive, adaptive, and open to the world.