| Titel | Jahr | author | Event |
|---|---|---|---|
The Last Picture 1950 – 2016 (2019) |
2019 | ||
Zakynthos; Ritom; Otranto; St. Saphorin; Oberwil |
2019 | ||
Study from Böcklin |
2019 | ||
cheval, chien, coq |
2021 | ||
Tunnel; Spiral 1–5 |
2022 | ||
Immunization of the Mind |
2022 | ||
On our way towards |
2022 | ||
Changing Eras |
2019 | ||
MIAMI; Spinne |
2019 | ||
fire ages |
2021 | ||
4 Läufer + Untitled |
2021 | ||
What does it take to win your love for me? |
2021 | ||
de-structure |
2018 | ||
PASSING TRACED LANDSCAPES |
2020 | ||
Hilanderas (James S. Brady Briefing Room, White House, USA February 25, 2020) |
2020 | ||
BECOMING LYSANN |
2021 | ||
Zeit des Figaro |
2022 | ||
Hug Me Barefoot |
2022 | ||
360 |
2022 | ||
MAMA HAT DICH LIEB von Carla Monti, 2002 |
2018 | ||
SELF PORTRAIT |
2018 | ||
Everybody Has A Plan, Until You Get Punched In The Face |
2022 | ||
«BLICKbait» [DS_V3A_S22] |
2022 | ||
A Dialogue between a Wooden Moth and Blue Slippers |
2022 | ||
Echo |
2022 | ||
nine smaller paintings |
2019 | ||
fade over to an elsewhere |
2020 | ||
Portraits 1–14 |
2020 | ||
No habitual love |
2020 | ||
growing anyway |
2020 | ||
Das SVP-Inserat |
2020 | ||
SOMA |
2020 | ||
Deep down the oceans are rising hydrothermal vents |
2020 | ||
Stage for disappearance |
2020 | ||
L’Art Mot Nid et L(‘)Arme Au Nid |
2022 | ||
tell me how to handle this shit ton of anger |
2022 |