A number of lewd acts fill the space of the Kunstmuseum Basel library, which, like any public library, is subject to rules about decency and silence. However, for Parcours, mythical hybrid beings are engaged in a range of sexual activities throughout the venerable institution in an attempt to undermine the prudish nature of pursuing science. The artist hints at the possibility that the frivolous scenes might even be taking place

in the minds of defiant library users. Installed on the bookshelves, paintings physically stop the public from gaining access to the knowledge the library provides.

In the reading room’s alcoves, four panels show anthropomorphic, whip-swinging dogs that look like something between Egyptian sphinxes and participants at a fetish party.

The austerity of the venue is further punctured by colorful vinyl stickers featuring textual representations of the sounds of animals on heat and the type of human dirty talk found

on dating apps.

As the works overthrow convention, albeit silently, the burning desire animating these tumultuous therianthropic entities is not only governed by the fetish of exhibitionism but also the desire for consumption and destruction of knowledge, using an institution of knowledge as a playground for erotic pleasure.