| signature | titel | year | Artiste | event | |
|---|---|---|---|---|---|
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forms2-2022.10034279 | Museumsreife. Eine Untersuchung der Vermittlungsprogramme für Senior:innen in Basler Museen | 2022 | ||
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forms2-2019.3989 | The Last Picture 1950 – 2016 (2019) | 2019 | ||
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forms2-2019.10034084 | Zakynthos; Ritom; Otranto; St. Saphorin; Oberwil | 2019 | ||
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forms2-2019.10034226 | Study from Böcklin | 2019 | ||
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forms2-2021.10065228 | cheval, chien, coq | 2021 | ||
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forms2-2022.856802 | Tunnel; Spiral 1–5 | 2022 | ||
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forms2-2022.10098535 | Immunization of the Mind | 2022 | ||
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forms2-2022.10098532 | On our way towards | 2022 | ||
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forms2-2019.8487361 | Changing Eras | 2019 | ||
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forms2-2019.10033958 | MIAMI; Spinne | 2019 | ||
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forms2-2021.10093860 | fire ages | 2021 | ||
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forms2-2021.10145330 | 4 Läufer + Untitled | 2021 | ||
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forms2-2021.10149116 | What does it take to win your love for me? | 2021 | ||
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forms2-2018.10005264 | de-structure | 2018 | ||
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forms2-2020.10002033 | PASSING TRACED LANDSCAPES | 2020 | ||
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forms2-2020.10102785 | Hilanderas (James S. Brady Briefing Room, White House, USA February 25, 2020) | 2020 | ||
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forms2-2021.801721 | BECOMING LYSANN | 2021 | ||
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forms2-2022.10004221 | Zeit des Figaro | 2022 | ||
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forms2-2022.10149155 | Hug Me Barefoot | 2022 | ||
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forms2-2022.10149465 | 360 | 2022 | ||
| forms2-2018.857774 | MAMA HAT DICH LIEB von Carla Monti, 2002 | 2018 | |||
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forms2-2018.10005652 | SELF PORTRAIT | 2018 | ||
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forms2-2022.10100557 | Everybody Has A Plan, Until You Get Punched In The Face | 2022 | ||
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forms2-2022.10100885 | «BLICKbait» [DS_V3A_S22] | 2022 | ||
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forms2-2022.10186115 | A Dialogue between a Wooden Moth and Blue Slippers | 2022 |