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Compassion series by Zlatko Kopljar.


Eye-drawings, “Augenzeichnungen”, (92-93) are drawings done directly with the eyes, without the slightest interference of the hands – the organ of perception being turned into the organ of expression. By Jochem Hendricks.


“Homes at Night” by Todd Hido.


»Fundraiser« from the series »Digital Cocks«, 2002 by Matthias Herrmann.

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LP-cover “Joy Division-Unknown Pleasures” (1979), “Unknown Pleasures” (Iris print, 2003), book-cover “Designed by Peter Saville” (2003), “Unknown Pleasure” (telegrey, chemical wood, polyurethane paint, 2003) and “Unknown Pleasure” (chemical wood, polyurethane paint, 2003) by Peter Saville.

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»Urban Manoeuvres«, 2000 by Robert Rumas.


»Las Melninas« and »Nude Descending a Staircase Nr.2« from »The Global History of Art«, 2004 by Stano Masár.

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After Microsoft” by Goldin+Senneby. (Photograph “Bliss” by Charles O’Rear. The image was used as the default computer wallpaper for the “Luna” theme, which was included with Microsoft Windows XP).

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»Maloche-Metronom« (2002),

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»Peitschenlaternen, gebändigt« (2001) by Ursula Achternkamp.


»Revival Field«, 1990-1993. On eighteen square meters of ground in Pig’s Eye landfill in St. Paul, Minnesota, contaminated with cadmium and isolated by metal barriers, Mel Chin made a smaller circle divided into six zones comprising of various species of decontaminating plants (absorbing heavy metals such as zinc and the cadmium). Plantings lasted until the site was detoxified.


“The Problem of Possible Redemption” by Harrell Fletcher is a video adaptation of James Joyce’s Ulysses shot at the Parkville Senior Center, Connecticut, with the seniors reading the lines from cue cards.


»Composicion 5 2005«,


»Composicion 6 2005« by Jose Manuel Ballester.


“Concorde” (Video) by Astrid Nippoldt.


»Landing Pattern LGA« by Kevin Cooley.

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»Reykjavik, Kingston, Toulouse, Amsterdam, Algiers« and »Tehran, Vancouver, Berlin« by Robert Davies.


“Save Your Love My Darling, Save Your Love”, “Untitled (Footballs)” and “Pink Noise” by Marius Engh.


“Being on Top” by Stefan Schuster.


»PPS (P.A.R.A.S.I.T.E. Public Sculpture)«, 2002 originates spontaneously in urban environments: on streets, in courtyards, next to apartment towers, by garden fences, in apartment-block communities and neighborhoods. It originates as the result of the exchange and gift economies of the local population and is linked to the micro-economy and micro-ecology of relationships. It directly reflects economic wealth/poverty, personal taste, and creativity. PPS is a temporary form. It changes constantly through unloading, shifting, adding, removing, and so on. By Tadej Pogacar.


“Escalator” by Fritz Panzer. See also Thomas Raschke and Brody Condon.


»cube«, 2004-2005 from the series »constructions« by Alexandre Castonguay.

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