The Basel Celestial Phenomenon: Angels, Aliens, and the Ever-Evolving Language of the Unexplained

In the year 1566, historical accounts from Basel, Switzerland, detail widespread reports of a perplexing aerial event: a vivid "fight" between enigmatic red and black spheres suspended in the sky. At the time, this celestial spectacle was widely interpreted through the prevailing religious lens, perceived as a divine miracle or a portent from above. Centuries later, with the rise of ufology, this same event has been recontextualized by some as an extraterrestrial conflict. While both explanations might seem extraordinary, the human experience of encountering inexplicable aerial phenomena—be it dazzling lights, fleeting figures, or disembodied voices—is a recurring theme throughout history, shaping myths and folklore from ancient Egypt to medieval Europe and finding resonance even within the foundational texts of major religions. Today, these occurrences are commonly referred to as UFOs (Unidentified Flying Objects). The question then arises: are we truly describing the same fundamental experiences, or is it merely the terminology that has evolved?

This enduring question is at the heart of artist Chloe Wise’s latest exhibition, Extrasensory, currently on display at the Kulturstiftung Basel H. Geiger (KBH.G). Pondering this very topic over coffee near the gallery, Wise articulates a profound observation: "It’s not the experience that changes," she suggests. "It’s the words we use to describe it, and to make sense of it, that change over time."

Wise elaborates on this linguistic evolution, stating, "In a religious paradigm, governed by Christianity, you’re met with something ineffable and you call it an angel. But now, we’re in a technological, post-nuclear age. We sent Katy Perry to space. So the way that we make sense of something unfathomable would be through a more technological lens." This shift in perspective highlights how societal and technological advancements influence our interpretation of the unknown, framing it within the dominant narratives and conceptual frameworks of each era.

The Genesis of Extrasensory: A Hyperreal Bazaar of Belief

The entrance to Extrasensory immediately immerses visitors in a meticulously crafted environment that mirrors the ubiquitous merchandise found near renowned UFO hotspots like Area 51. The lobby of the KBH.G has been transformed into a quasi-spiritual and pseudoscientific emporium, replete with Himalayan sea salt lamps, keychains, discount CDs, prayer candles depicting Jesus alongside Zeta Reticulans, and packets of glowing green alien toys. This seemingly chaotic collection is, in fact, the product of an intensive artistic endeavor. Wise and her team dedicated twelve consecutive nights, often working until 2 AM, to meticulously create and arrange each item. The level of detail is staggering, extending to the simulated dust on DVD covers and the carefully orchestrated black mold subtly growing behind the reception desk. This exhaustive preparation, described by the artist as a "biblical feat," sets the stage for the exhibition’s deeper exploration of belief systems.

From Kitsch to Cosmic: Unpacking the Commodification of the Unexplained

While the gift shop might initially appear as a straightforward, albeit artful, representation of ufology’s intersection with science and spirituality, Chloe Wise views it as a more profound starting point. "There’s an impulse, as humans, to create memorabilia," Wise concedes. However, she emphasizes that these t-shirts, crystals, and bumper stickers are merely the superficial layer. In Extrasensory, as in life, "the tackiness, the kitsch, the cheap objects serve as a starting point." They represent a more accessible, "shallower ‘layer’ of esoteric, religious, or otherwise revelatory experiences – a way in."

The artist explains, "At first, you interact with the commodified version of the experience, like tarot cards, rosary beads, or a prayer candle. And then something happens. You have an experience, and words don’t quite cut it." It is at this juncture that objects and phenomena become imbued with a deeper, more personal significance. "Suddenly you’re noticing these numbers everywhere, or a turn of phrase, or symbols like a heart in the clouds or Jesus’s face on a piece of toast. You start to look for these symbols and synchronicities." This phenomenon speaks to the human tendency to seek patterns and meaning, particularly when confronted with events that defy conventional understanding.

PsyFi: A Cinematic Journey Through the Unfathomable

The exhibition’s centerpiece is the 30-minute film, PsyFi. Visitors first navigate through an unsettling, Lynchian "backstage" area, enhanced by an atmospheric soundtrack composed by Loke Rahbek, before reaching the film’s screening space. PsyFi commences with an experience that transcends verbal description: a group of young individuals, gazing at an extraterrestrial light, begin to recite poetic phrases and mantras that recur throughout the film. Lines like "An ideal pebble in a perfect pond," "The planet is a mess, it deserves a rest," "Science confesses her ignorance," and "The body is a situation" form the initial narrative threads.

From this enigmatic opening, PsyFi embarks on a kaleidoscopic journey through diverse realities, encompassing cults, angelic and demonic encounters, a surreal Victoria’s Secret-style fashion show, and a poignant depiction of a down-on-his-luck devil seeking solace in New York. A particularly memorable segment features a melodramatic television show within the film, where Wise herself portrays an alien yearning to return to her home system, opposite Ben Ahlers as her scorned lover. The recurring motif of "There’s a better universe next door. Let’s go," echoes the film’s exploration of alternative realities. The disconnected dialogue and liminal backdrops evoke a distinct Lynchian sensibility, a fitting parallel given that both David Lynch and Chloe Wise are painters who have transitioned into filmmaking, sharing a profound fascination with the mysterious and the ineffable. This thematic connection is also evident in Wise’s 2025 painting exhibition, Myth Information.

The Intertwined Narratives of Faith and Fiction

Wise posits that the science fiction tropes and religious theatrics woven into PsyFi are not merely decorative elements but integral components of understanding belief. "You have to include the way the stories are disseminated and told," she asserts. In the contemporary landscape, this includes not only sci-fi films and television series like The X-Files but also sacred texts such as the Bible. "You have to include all of those elements in order to weave the whole tapestry, which includes all of these different threads that, alone, don’t speak to the true nature of the thing. The truth being, of course, that there is no absolute truth." This perspective challenges the notion of singular, objective truth, suggesting that our understanding of reality is a composite of various narratives and interpretations.

In keeping with this inclusive ethos, Extrasensory is accompanied by a book of the same title. This publication features contributions from writers, artists, scientists, and mystics, who offer reflections on the unknowable phenomena that exist at the fringes of "consensus reality." The book itself is a mosaic of speculative research, philosophical inquiry, religious studies, psychoanalysis, fiction, and firsthand accounts of UFO encounters. Rather than providing definitive explanations, it aims to expand the viewer’s perception of the realities explored in the film. "This book couldn’t have been, like, a textbook on UFOs," Wise explains. "It’s like a dream object that you just feel your way through. Everybody could find something different from it, but that’s what the phenomenon is. That was why I thought art is the place for this, the way that poetry is a good place to talk about love… We’re weighing, and playfully, poetically dancing around all these different possibilities."

The Cyclical Experience: Returning to the Gift Shop, Transformed

The exhibition is designed to be cyclical, much like a bracelet, as Wise describes it. After experiencing the film, which incorporates declassified footage of orbs and UFOs from US government files, viewers are guided back through the mirrored backstage area, ultimately returning to the gift shop. However, the perception of this space has been subtly altered by the preceding journey. Familiar images, characters, and linguistic fragments from PsyFi are now recognizable on candlesticks, CD covers, and bumper stickers, creating a sense of resonance and dawning comprehension. "Suddenly, things are starting to make sense," Wise observes.

Ultimately, these seemingly mundane trinkets cannot encapsulate the entirety of the PsyFi universe, let alone a genuine extraterrestrial encounter. Much like any souvenir, they serve as tangible reminders, attempts to grasp a fleeting memory or a profound feeling, but can only allude to the vastness of the realities we inhabit. Perhaps this very disconnect is the core of the exhibition’s message. It is within this gap that faith, whether in religious miracles or physics-defying flying saucers, finds its footing. "Belief persists," Wise concludes. "Maybe it’s a biological need that we don’t understand. Maybe the mystery is inherently necessary. We want to be reenchanted."

Extrasensory is on display at Kulturstiftung Basel H. Geiger until September 6.