In one room, a shirtless, redheaded boy is about to drive his sword through the stomach of a child on a snowcapped mountain. In another, statuesque models lounge on a digital beach as a hurricane of golf balls storms overhead. Down the hall, a black reverend is reading the bible on the back of a centaur in an airport, waiting for a plane that’s buried in snow.

As visitors to this museum in Switzerland shuffle from one space to the next, Tatiana Arzamasova looks on with regal dispassion, her hair a wild flame of red against cold white walls. It’s a sleepy Saturday afternoon in the idyllic city La Chaux-de-Fonds, and Arzamasova — dressed in a bright red dress with a huge matching bow across her chest — is here for the opening of the Liminal Space Trilogy: a series of stylized and often unsettling films about heaven, hell, and purgatory.

The first installment, Last Riot, caused a stir in the art world when it debuted at the Venice Biennale in 2007, catapulting Arzamasova, 59, and her Moscow-based collective, AES+F, to new levels of international fame. The subsequent videos, Feast of Trimalchio (2009) and Allegoria Sacra (2011), have been met with similar acclaim, challenging viewers with their jarring visual effects, clashing symbolism, and opaque social commentary.