Adam Cruces, Patience, 2011, still
Ursula Damm, Transits, 2012, still
Christina Kubisch, Electrical Walks Basel, 2012. Photo: Lukas Zitzer
Jodi, div. [property], 2013, screenshot
Alexis O’Hara, Squeeeeque A.K.A. the improbable Igloo, 2009-2011. Photo: Stefan Hollenstein
Lauren Huret, Face Swap (past), 2016, screenshot
Marc Lee, TV-Bot 2.0, 2010, screenshot
Christoph Wachter / Mathias Jud, New Nations, 2009–2011, screenshot
UBERMORGEN, Sound of eBay, 2008/2009, screenshot
Aline Zeltner, Lideslied, 2011, still
Esther Hunziker, EHB 5866, 2012, still
Philipp Madörin, Allebildergenerator, 2011, installation view at HeK. Photo: Stefan Holenstein
Aline Veillat, Sada el-Kawn, 2011, installation view at HeK. Photo: Stefan Holenstein
Denis Handschin / Michel Winterberg, Um die Ecke, 2012, still
Beat Brogle und Philippe Zimmermann, onewordmovie, 2003 / 2018, screenshot
Studer / van den Berg, filter: four letter words, 1997 – 1998
Studer / van den Berg, filter: mille miglia, 1997 – 1998
Studer / van den Berg, filter: mixed double, 1997 – 1998
./LOGICALAND V0.1, Maia Gusberti, Michael Aschauer, Nik Thoenen, Sepp Deinhofer, 2002
Mélodie Mousset, We were looking for ourselves in each other, 2015
!Mediengruppe Bitnik, Download Finished, 2006, still
knowbotic research, macghillie_just a void, 2008 – 2012
knowbotic research, minds of concern (New York Version), 2002
knowbotic research, kotomisi un-inform, 2014 –2016
collectif_fact, Circus, 2004, screenshot
collectif_fact, Loading, 2007, screenshot
Jan Voellmy, Schnur, 2008, installation view
Atelier Hauert-Reichmuth mit Volker Böhm, LUMO LED, 2009
Jodi, Max Payne Cheats Only, 2004, screenshot
Alexander Hahn, A Young Person’s Guide To Walking Outside The City, 1983, screenshot
Esther Hunziker, Frequency, 2008, screenshot
Birgit Kempker, Sphinx, 2004 – ongoing, screenshot
Marc Lee, TV-Bot 1.0, 2004/2005, screenshot
collectif_fact, ce qui arrive, 2005, screenshot
Studer / van den Berg, travelogue, 2005, screenshot
John F. Simon Jr., Every Icon, 1997 – ongoing, screenshot
!Mediengruppe Bitnik, CCTV – A Trail of Images, 2008 – 2014
Stefan Karrer, Cool clouds that look like they should be spelling something, but they don't, 2016, video still
Marc Lee, Pic Me, 2014, Online Project
Yves Netzhammer, Formales Gewissen, 2013, still
Cod.Act, πTon/2, 2017, Installationsansicht HeK, Foto: Gina Folly
Philipp Gasser, Clouds of the Second Kind, 2016, screen shot
Philipp Gasser, Der moderne Mensch, 2000, still
Philipp Gasser, Der, der kommt, ist nicht der, den du erwartet hast, 1999, installation view
Jonas Baumann, The Touch of Vacuum, 2014, still
Studer / van den Berg, Hotel Vue des Alpes, 2000 –, screenshot
Yves Netzhammer, Dialogischer Abrieb, 2011, still
LAN, Trace Noizer, 2001, screenshot
Hervé Graumann, Raoul A. Pictor cherche son style, 1993, installation view
Hervé Graumann, My living room, 1993, screenshot
Yves Netzhammer, Vororte des Körpers, 2012, still
Hervé Graumann / Matthieu Cherubini, Raoul Pictor Mega Painter, 2013, app, screenshot
Gilles Aubry / Stéphane Montavon, Cairo Talking Heads, 2006/2017
Andreas Gysin / Sidi Vanetti, Altoparlanti, 2006/2017
Alan Bogana, Cave Caustics – Case 11 – Flag of Convenience, 2014, video installation, Photo courtesy the artist
Alan Bogana, La Gogotta Desnuda, 2015, Digital hologram, Photo courtesy the artist
fabric | ch, Satellite Daylight Pavilion, 2017, screenshot
fabric | ch, Satellite Daylight, 46°28’N, 2007, Interactive installation, Exhibition view "Sensing Place", HeK Basel 2012, Phoro: Stefan Holenstein
Studer /van den Berg, Passage Park #7: Relocate, 2017, screenshot
Studer / van den Berg, Über Sehen, 1993, screenshot
!Mediengruppe Bitnik, Alexiety, 2018
!Mediengruppe Bitnik, Opera Calling, 2007
Zimoun, 25 Woodworms, Wood, Microphone, Sound System, 2009
Zimoun, 2 prepared DC-Motors, Cotton Balls, Cardboard Boxes 16.5 x 12 x 5 cm, 2013
Zimoun, 1 prepared DC-Motor, Cotton Ball, Cardboard Box 23 x 23 x 6 cm, 2012
Christoph Wachter and Mathias Jud, Zone*Interdite, 2009, Ausstellungsansicht Wilhelm-Hack-Museum, Ludwigshafen, 2009
Laurent Huret, Praying for my haters, 2019, still
Laurent Huret, Face Swap (present), 2017, still
Fragmentin, Displuvium, 2019, courtesy the artist
Andres Bosshard, Telefonia–1291–1991–2021, 1991/2020, Screenshot
etoy,, 1994 - today
Jürg Lehni / Guy Meldem, Flood Fill – Global Warning, 2003
Jürg Lehni, Flood Fill – Verbs, 2016
Micromusic, Microbuilder, 2004
Micromusic, Microbuilder, 2004
Pe Lang, Positioning Systems VI – Falling Objects, 2013
Karin Lustenberger, Here and Now, 2013 / 2016
Matthieu Cherubini,, 2011, Screenshot mit technischem Schema der Funktionsweise des Systems.
Mabe Bethonico, Ursula Biemann, Uwe H. Martin et al., World of Matter, 2011 – 2018


In an age of rapid technological change and high-speed technology, the question of how to preserve digital heritage becomes increasingly important. The HeK has dedicated itself to finding answers, and maintains its own collection along those lines, together with its usual exhibitions and events. This collection focuses not only on digital works but also includes installation- and software-based as well as site-specific projects.


The initial foray into this realm, conducted as part of the tri-national research project Digitale Medienkunst am Oberrhein (Digital Media Art in the Upper Rhine) – Conservation – Restoration – Preservation (2010-2012), yielded a comprehensive publication on the preservation of digital art, to which the HeK contributed a case study and texts.

This research project enabled the HeK to launch its collection of works on permanent loan, with funding from the Federal Office of Culture, the Kunstkredit Basel-Stadt, and the Department of Culture of the Canton of Basel County. Gifts from the Christoph Merian Foundation helped form the basis of the collection, which is to be expanded in the long term and will include a central archive for artistic production. Key to the collection is the comprehensive documentation of works and the outlining of individual solutions for their preservation. To that end, the institution seeks exchange with national and international colleagues as well as with scientific and research institutions.

The collection focuses not only on digital works; it also includes installation- and software-based works as well as site-specific projects for the Dreispitz area and all of Basel, all of which were – or will be – created as part of exhibition projects at the HeK. The focus of the collection is not on technical formats but on substantive issues that create socially relevant references; deal with access to spheres of information; reflect and form networked systems; and demonstrate a new aesthetic practice or enable new kinds of perceptual experiences.

Mélodie Mousset, We were looking for ourselves in each other, 2015, screenshot


The HeK distinguishes itself by its unique collection, focusing on "born-digital-art" - art that has emerged and is situated in the digital domain. Media art includes many forms of artistic expression and the use of different materials - from software-based art, computer code, moving images to interactive installations and sound environments. The HeK takes into account this wide range of artistic expressions in the field of art and media technology in his collection. The focus is not on technical formats, but on substantive issues that create socially relevant references, discuss approaches to the information sphere, reflect networked systems and educate, show a new aesthetic practice, or allow new perception experiences. The diverse artistic expressions make it necessary to set priorities. The HeK puts them in the area of software and NET-based art, which has develpoed a specific artistic practice in Switzerland. Many of the works are available online. Otherwise the artworks are not permanently exhibited, but appear in exhibition contexts.

Overview artworks

Yves Bernard (iMAL)

Preservation of Performative Media

Digital art, in its countless manifestations, has become a household word in creative production; its cultural relevance is unquestioned. But its conservation does present new challenges to museums and collections alike: What can be done if the technology is already out of date the moment you switch on the computer? How do we deal with works of art that are dependent on proprietary software that’s no longer being updated by its manufacturers, or whose manufacturer no longer exists? How can net-based projects be preserved for the future? 

Conservation Piece(s)