In 1998, my work underwent radical changes with respect to its context, leaving private and protected atelier spaces for public space. In all the following works and projects, I appropriated public space and its connotations, functional and otherwise, playfully exploiting the normal use of specific architectures, functions, or symbols, and creating a kind of a new and free playground. SCHORSCH CACO GOES TO AFRICA was the first of these new projects, realized during a 3-month trip to southern African countries, in autumn 1998. In this project, I followed in the steps of the protagonist of a Swiss fairy tale; a young man from Zurich going to Africa in a search for cacao beans. I revisited the places he traveled to, and asked people to take photos of myself as Schorsch Caco. TELECAMPING was a collaboration with another artist from Geneva, and was an installation about camping in the wilderness, hunting for trophies, and the expedition/exhibition theme. TAKING OF PELHAM (HAMBURG) was realised together with Solvej Andersen in the spring of 1999, in the subway of Hamburg, where we staged little fragments of potential stories of crime and sexuality for the control-cameras surveying the subway stations. In diverse public spaces, defined by specific urban architecture with a precise function, like subway stations in Hamburg, or the UN neighbourhood in Geneva, I study peoples' behaviour and their use of these places. In Hamburg, we chose certain subway stations because of their reputation of harboring higher levels criminal activity. Late nights, we filmed the deserted stations with a fixed video camera, producing a series of short actions reflecting on the type of behaviour considered acceptable in such places. Long sequences emphasize the atmosphere of the station - technical or human sounds, silences and the architecture - nothing happens, apart from our own discreet happenings. The video-tape is edited in a surveillance camera style, shifting every second minute to another station.