|   | signature | titel | year | Artiste | event |
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forms2-2022.802086 | Memassociate. Compendium of memory-based associations | 2022 | ||
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forms2-2022.10066868 | BILDERFLUT. DIE ALLGEGENWÄRTIGE BERIESELUNG DER BILDER EINER ANGEBLICH RASANTEN WELT | 2022 | ||
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forms2-2018.885763 | Intuitive haptic telemanipulator for a robotic endoscope | 2018 | ||
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forms2-2019.10001128 | Auf der Suche nach Angst | 2019 | ||
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forms2-2017.940443 | Der Kreator | 2017 | ||
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forms2-2019.10002696 | Papierkonsum | 2019 | ||
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forms2-2020.10029352 | ORAL | 2020 | ||
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forms2-2022.10043115 | NSÚKI YA LOKUTA | 2022 | ||
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forms2-2022.10095701 | Fernzugangsverzeichnis Pfäffikon ZH. Das Komische in Daten | 2022 | ||
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zotero2-2317722.K4VVV5FI | die digitale See | 2018 | ||
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bangbang-1297 | Gespannte Gefährten | 2002 |
Clay, Arthur
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Gare de Nord
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bangbang-0208 | LOOC (Line out of Control) | 2009, 2010 |
Eriksson, Lena; Nair, Varsha
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Performance Saga
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zotero2-2641719.AAH67FUZ | Unter Pflanzen. Exhibition catalogue | 2025 | ||
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zotero2-1510019.NGD3UV7C | Salon Chismosa | 2025 | ||
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zotero2-1510019.5R7TGDRT | Biofabricated futures: The ecopolitical potential of bio-design practices and its facilitation through interactive experiences. | 2024 | ||
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zotero2-1510019.4ZNXASZT | TO STYLE IS TO RESIST | 2025 | ||
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bangbang-1134 | Olymp illuminiert - Zeus Tagebuch | 2016 |
Meier, Pedro
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Art Campus Attisholz – Kettenreaktion 2016
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forms2-2020.10029560 | Die Schande vom Espenmoos. Eine Installation zu St. Galler Emotionen des 20. Mai 2008 | 2020 | ||
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forms2-2020.10028964 | Poltergeist, 1982. Ein Remake für das Filmplakat | 2020 | ||
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forms2-2022.10099153 | TERMINUS. Virtueller Spaziergang durch ein postapokalyptisches Basel | 2022 | ||
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forms2-2022.10150915 | SENSE OF TIME | 2022 | ||
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forms2-2018.967806 | Spielerisches Plakat. Mikroplastik in Kosmetika | 2018 | ||
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forms2-2018.941882 | Visual Language. A Collection of Verbal Contrasts | 2018 | ||
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forms2-2021.10030446 | There’s an alligator in my kitchen | 2021 | ||
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forms2-2017.941706 | Unveil | 2017 |