The sheet has a documentary character: it refers to material that Roman Signer used for an action in 1989. It shows the imprint of fuse reels that were delivered on a wooden pallet. The artist laid fuses along the railway tracks from Appenzell to St. Gallen station, about 20 km away, and had them burned. The performance lasted about 35 days - 150 seconds for 1 meter - and ended with music and a small fireworks display in St. Gallen. The graphics remind us of the stored energy, the dormant potential, the "rolled up" time. In the film "Action with a Fuse" by Peter Liechti, Signer says: "It is an incredibly interesting experience for me to stretch time like this for once. Because the fuse burns so slowly, the days are so long, the weeks are so incredibly long. A month has never been so long for me as it is now. And I have gained time. And I have felt very clearly what a provocation it is today to do something like this. The provocation of slowness. In this age where everything is geared towards speed, slowness is an insane luxury and a great provocation."

The present multiple consists of seven copper plates mounted on a plywood plate primed with black printing ink. One of the copper plates is screen printed. The work combines the compositional structure of a painting by Piet Mondrian with a detailed view of the charioteer of Delphi, an antique full-figure statue from the 5th century B.C. The bronze sculpture - of which only the hand and broken reins can be seen - depicts a charioteer at the moment when he steers his carriage in front of the cheering spectators to receive the tribute of victory. Despite the magnitude of the moment, the athlete has his emotions under control and radiates stoic equanimity. Mondrian, for his part, abstracts the visible world into horizontal and vertical lines in his painting, creating a tension that "urges us to balance". The multiple of Santoro combines the seemingly static lines of modernist composition and the allusions to movement and dynamics of ancient sculpture. Seemingly opposed - here the figurative sculpture, there the abstract image - both are connected by a subtle concept of formal language: time is captured in a spatial coordinate and surface expands into space.

"My thematic occupation with landscape painting means a constant confrontation with art history, with the medium, with my own memories and with the landscape itself." The starting point for these prints are two water scenes - a topos of landscape painting - from the 19th century, a time when artists increasingly produced models in nature. The vivid sketches were then translated in the studio into fully formulated, contemporary ideas of the landscape. The fragmentary nature and status of such sketches is a special field of interest for the artist. Here she has taken them from the paintings in a process of appropriation and reformulated them in a medium, lithography, which is generally not associated with spontaneity and sketchiness.

Zilla's room: How much time do we spend where we live, day after day, in the kitchen, where we sit in the first sun in front of the first steaming cup of coffee morning after morning, in the bathroom, where we think of the sea while lying in the tub, in the workshop, where we scrub the dirt off our hands after we have patched up the world once again, in the living room, where we talk and argue and laugh with best friends, in the bedroom, where we go night after night on a big exploratory trip in the depth of our sleep. The things we have experienced there: in our rooms! They are the adventures of everyday life. (Zilla, June 2014).