A delicate white ray approaches the frame of a dark picture, bounces off and changes direction. The ray begins to ramify into a geometrical shape. Various algorithms became the co-authors of this generative work that explores the physical laws of reflection. The code-generated soundtrack reacts in real time to the gradually transforming sequences of figures.

This film is inspired by the architecture of the M+ Museum in Hong Kong, questioning the conventional definition of a museum as such by taking it out of its context and regarding it as a pure object. A complex interplay of geometrical forms, inspired by the interior of the Hong Kong museum building, refers to the elementary structures that determine our material world.

Coarse pixelated lines burst into our field of vision. They seem to communicate, but in a strange language. A little later they explode in a blaze of colours, while old-fashioned test patterns sneak into the background. Memories of a not-too-distant era come to mind, when everything was analogue and pixels could only dream of their big future.

Twelve image tiles merge in a rhythmic dance that explores the intrinsic relationship between sound and image. The elements in the tiles, created by painting and scratching directly on the 16mm film strip, respond to the hand-drawn soundtrack and engage in a surprising and surreal dialogue. Their language cannot be understood, only felt.

Single frames from a direct animation appear on the screen in staggered repetition. The shapes painted, printed and scratched on 35mm material evolve, with minimal time lapses, from one edge of the frame to the other. A trace is left, telling of time itself and asking: When exactly is “now”? The past, present and future are spinning in the chaos of moments.

Shimmering lines intertwine constantly to create ever new digital webs. The third dimension is added by diagonals. A moving camera allows us to finally recognise the secret that the visual elements have kept hidden so far: A 3D model of the Kunsthaus Basel creative centre disentangles itself – only to fade back into the luminous void.

We would not be surprised if this multiple-award winning, internationally acclaimed, and extremely charming film were to be found in an encyclopaedia under the entry “colourful”. Protean shapes in dynamic motion visualise the rhythm of a lively piece of music, leaping like fireworks from the textured black background and animating the screen.

An oily liquid oozes across the frame. Wafting windows in the black mass draw the eye to the levels below. Everything is in motion. Hypnotic music enhances the viscosity of the soft body until we believe that we see a “Liquid Light Show” from the 1960s. But these are the dark revenants of psychedelic hippie visuals that put us into a black trance.

The images, whose finely chiselled materiality recalls the surface of the human skin, explore the experience of physical contact. Dark ink spots cover the paper background, disrupting its clear white colour. Flashing colours and an electrifying sound make the sensation of touch tangible. The extreme enlargement creates an intimate relationship with pigments and textures.

This visual symphony unfolds according to the principles of swarm behaviour. Digitally created clouds of dots organically flow into each other. Everything lives, breathes, is sensual and tactile, feels soft and harmonious. A warm, light sound carpet flows around the constantly moving landscape. An allusion to the cyclical nature of our life.

An abstract video artwork that explores the fleeting nature of colours, textures and shapes. The images are reminiscent of the rough surface of a damp cave wall on which the light of a distant torch is refracted. Time loses meaning, shadowy crystal structures emerge and fade. An opalescent colour apparition tries to assert itself in this space.

The flowing movement of a mountain landscape shrouded in orange fog is disturbed. The regular wafting stops, the landscape structures crumble. The atmospheric sound becomes a shrill screech. “For Tashi” describes the physical and emotional turmoil of a woman after the loss of her unborn child, seeking resonance with the viewers, hoping for comfort.

In mathematics, a function describes the relationship between two sets that assigns to each element of one set exactly one element of the other. The term function in general defines the purpose for which something exists. This film is a rhythmic examination of abstract organic and inorganic processes, embodied by oscillating shapes in intense colours.

On a light blue sheet of paper, a grid emerges which is immediately overgrown by an organic dark surface. Grid and surface seem to enter a symbiotic relationship and, merged into a whole, to try out a new shared form. Geometrical possibilities between two-dimensionality and depth, control and instability are acted out.

This film is part of the international “Happiness Machine” project that explores the idea of the “Economy for the Common Good” – a slogan created by Austrian activist Christian Felber. In “Hierarchy Glitch”, a web constrains the free movement of shapes and sounds. When the matrix dissolves, connection and direction are lost. But soon they re-form organically.

This experimental animation shows the enigmatic shapes and colours of cultured crystals. Their production, once an indispensable basic process of material science and research, has lost its scientific usefulness today. But the beauty of the resulting objects has no expiry date. Enlarged, sorted and arranged, the crystals become art.