| titel | year | author | event |
|---|---|---|---|
I ay eye aille 愛 – sticky eyelashes behind lavender sunglasses { it’s all real + add shiny filter } |
2022 | ||
Transformant #1 |
2018 | ||
The party is over |
2019 | ||
Forged from Tales and Memories, the House of Opportunities |
2019 | ||
BUMP |
2020 | ||
Five displays with objects |
2017 | ||
Nike |
2017 | ||
Growth. zusammen mit Markus Aebersold |
2017 | ||
Keramikbank mit Würmer |
2017 | ||
Stage of Confidence |
2017 | ||
(1) Matrix Digitales / (2) Ohne Titel |
2017 | ||
Growth. zusammen mit Chris Handberg |
2017 | ||
Table des matières / Table of contents |
2017 | ||
(1) Feidar / (2) Osnarmo / (3) Poliyark |
2017 | ||
Dearena Denavibus |
2017 | ||
200 Selbstporträts |
2017 | ||
Von gestern bis morgen |
2017 | ||
b#188 / working, living sculpture |
2017 | ||
(1) an eye on a reflecting plane—its lens slightly tipping the surface / (2) untitled |
2017 | ||
Eden |
2017 | ||
Kunsthaus Baselland |
2017 | ||
Adeline |
2017 | ||
Ohne Titel |
2017 | ||
embedded |
2017 | ||
(1) he is training smiling when he is alone in the train, forcing his muscles not to stop. he has got more than 50 face muscles, like us. by long distance train, he arrives at destination with a terrible trmbling face. he pretends to do it for the future, he doesn't care about real smiles. (2) Le plaisir est au bout! |
2017 | ||
Save the Poor Image / Hommage an Hito Steyerl |
2017 | ||
Die sieben letzte Lieder |
2017 | ||
(1) Rejetée / (2) Blueback |
2017 | ||
Bounty Beaches (Serie) |
2017 | ||
Black Molly Masse |
2017 | ||
FX Canvas |
2017 | ||
Toter Winkel |
2017 | ||
Supercycle. The Transitional Nowness |
2018 | ||
111 (make the unknown unknown, partialy known unknown) / Bleaching |
2018 | ||
Durch-triebe-n (both stumbling and transforming) |
2019 | ||
Description of an easement |
2019 |