This intimate and contemplative work is a pure acoustic piece. Kubli used field recordings that were captured in the interior of an apartment block in New York City. In a dense arrangement, he juxtaposes small noises from daily private routines with the sounds of the urban exterior that are filtered through the apartment's physical properties. New York INSIDE was broadcast at WDR3 Ars Acustica in 2016. Kubli conveyed the composition into an artistic script through a written transcription of the noises and sounds that were deployed (2017). The performance piece Record Attempt presents an environment dedicated to performing the “longest guitar solo ever played“. In a closed architectural space and in presence of a notary, a performer attempts to outplay the current world record. The audience can witness the attempt at the exhibition site through a spyhole in one of the walls. Simultaneously, the performance is transmitted as a video stream over the internet. The first record was set by Kubli in 2008 at Philipp von Rosen Galerie in Cologne. Another performance of Record Attempt was presented at MARCO in Vigo (2012) and LABoral, Gijon (2012), as a competition that was open to the public. The Australian Broadcasting Corporation (ABC1) featured the “longest guitar solo ever played“ in its TV-Series Spicks and Specks in 2011. This piece was commissioned for the traveling exhibition What Sound Does a Color Make? hosted by Independent Curators International and curated by Kathleen Forde. Based on a digital image of a monochrome blue painting by Yves Klein, Kubli projected an acoustic interpretation of the visual parameters onto the exhibition space. A multi-channel speaker setup allowed the audience to be submerged within the sonic representation. Monochrome Transporter was presented at Eyebeam in New York City (2005), followed by exhibitions at Wood Street Galleries in Pittsburgh (2005) and Govett-Brewster Art Gallery in New Zealand (2006)  This large-scale installation piece consists of a miniature radio broadcast station that operates multiple senders on various frequencies and an assemblage of up to 60 radio receivers that are positioned in an exhibition space. Deterritoriale Schlingen overrides the signal of the local radio stations with its own broadcast, establishing an information sovereignty within the realm of the exhibition site and its neighbouring facilities. The broadcast of Deterritoriale Schlinge consists of a multichannel audio composition. The disposed sound materials are field recordings of cultural environments and events, fragments of pop music and electronic beatloops, and excerpts of post-structuralist speeches.