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The publication Radical Bird Research brings together Roland Maurmair's artistic research from recent years with an ornithological focus. In addition to photographic field studies, the artist presents his critical and humorous examination of the world of birds, the coexistence of humans and birds in urban spaces and forms of cross-species communication in drawings, performances and installations.The multifaceted spectrum of his work is complemented by text contributions that shed light on aspects of his artistic work and explore the correspondences between bird migration and art from an aesthetic and art-historical perspective."Maurmair's artworks on birdlife are simultaneously funny experiments and critical comments on the hegemonic behaviour of us humans towards other living beings. But they also think about other forms of solidarity and support. [...] His work can also be considered 'realist' critical art, though, art that submits concrete proposals." (Ivana Marjanovic)

Hiroshi Takizawa's photographs are the result of a complex process in which the relationship between object, material, image, and their spatial qualities are probed. His series Fingerprinted Objects shows items made from clay that stand out sharply against a dark background yet have an indefinable presence themselves-an amorphous lump without recognizable objecthood steeped in colorful light whose source is equally undetectable. In photographing the images over and over, their vexing, shimmering coloration emerges as a self-generating process. [...] Ultimately, this project is about the perceptual parameters of the human visual apparatus and the extent of our sensory abilities. Can we feel a photograph? Patricia GrzonkaIn its capacity as a micromuseum, MuseumQuartier Vienna's Sternenpassage highlights artists whose work broadly relates to photography. Each resulting series is presented across five illuminated circular display cases mounted on the walls. Lumen Zine is a miniature catalogue supplementing exhibitions at Sternenpassage.

The Secession Talks. Exhibitions in Conversation brings together the artists' talks on the exhibitions that took place at the Vienna Secession from 2011 to 2022. Beyond its significance as an archive, it constitutes a highly topical platform for knowledge, ideas, and concepts about art and the world. The conversations are always improvised and spontaneous, the interlocutors lead and seduce each other to formulate thoughts, daringly, playfully, seriously, convincingly, but for no one predictable-the best conditions for new connections of ideas, new contexts. Surprising insights into the process of making a work or an exhibition, into aesthetic decisions, biographical and political contexts.

My Body is a Battlefield offers a comprehensive insight into the work of the Ukrainian artist Maria Kulikovska, born in Crimea in 1988. Already in her early works she deals with patriarchal structures and the absence of female subjectivity in Ukrainian art. With the annexation of Crimea and the ensuing war, questions of identity and belonging and the themes of border and violence become leitmotifs of her artistic practice. Kulikovska's sculptures are exact copies of her body or individual body parts. Made of unusual materials such as ballistic soap, grease, or epoxy resin, the casts are subject to processes of aging and decay, are modified, transformed, and deconstructed. In her watercolors and drawings, created as series, for example on medical reports and authority forms, she designs bodies that resist the markings and boundaries of the paper as much as the bureaucratic constraints and gender fixations formulated there. Her ceramics-molds of severed limbs and replicas of bodily fluids-are forms of rage and despair in the face of the brutality and horrors of war.Kulikovska shows her body as a site of conflicting emotions and traumatic memories, as a contested arena of ideological attributions and warlike aggression; she asserts herself, drastically and dramatically, against gender and sexual norming, against violence and subjugation.The illustrated book was published on the occasion of the exhibition of the same name at the Francisco Carolinum in Linz, the artist's first solo exhibition in the German-speaking world.

Einst dienten die Sterne am Himmel vor allem zur Orientierung auf der Erde: beispielsweise zur Bestimmung des Zeitpunktes der Aussaat im Jahreszyklus oder zur Positionsbestimmung von Schiffen auf dem Meer. Man wusste: Der Lauf der Sterne folgt festen Bahnen und ist unveränderlich. Dafür musste man nicht nach den Sternen greifen. Es wäre geradezu widersinnig gewesen.Die Hände, die sich auf den Fotos der Serie Behind the Sun von Dimitros Mavroudis in den Himmel strecken, scheinen aber ohnehin nicht nach etwas greifen zu wollen. ... Mit poetischer Prägnanz verleiht die Serie durch die Metapher der Fotosynthese einer unserer Sehnsüchte Ausdruck: Ich sehe sie als Bilder des Verlangens, wie eine Pflanze eingebunden zu sein in den Kreislauf der Nährstoffe und Energien, also vegetativ verbunden mit den Wirkkräften des ganzen Universums. (Vitus Weh)Als Mikromuseum präsentiert die Sternenpassage im MuseumsQuartier wechselnd Künstler*innen, die im weiteren Sinn zum Thema Fotografie arbeiten: mit Belichtungen und Lichterscheinungen. Gezeigt werden ihre Werke in vier runden, leuchtenden Wandvitrinen. Diese eigens gefertigten Serien werden in der Passage jeweils mit einer Teleskopaufnahme des Weltraums kombiniert. Der Kleinkatalog Lumen Zine begleitet die Ausstellungen in der Passage und erweitert sie kontextuell.

Self-staging, self-exposure, self-erasure - these are the themes that Michaela Moscouw (*1961) worked on uncompromisingly, excessively and memorably over three decades. Until the early 1980s, the Viennese artist painted abstract pictures, then she destroyed her entire oeuvre and filmed herself doing it. She thus changed medium and since then has exclusively used the means of photography. She obsessively pursued concepts and designs of an aestheticised body experience.For her self-stagings as a radical act and expression of personal emotionality, she acted like an actress rehearsing different roles, questioning gender-specific clichés and body images. She worked on the terrain of VALIE EXPORTS, Friederike Pezolds or Renate Bertlmanns.Today, Michaela Moscouw lives in seclusion in Vienna. Her works have been continuously destroyed, yet works by her have survived in public and private collections. The catalogue presents the preserved photographic work, from early large-format self-portraits in black and white to the colour images from the early 2000s.Published on the occasion of the exhibition Michaela Moscouw, Anwesend Abwesend, Francisco Carolinum, Linz from 10.02. - 14.05.2023

Timo Huber, a founding member of the architecture groups Zünd-Up and Salz der Erde, is fascinated by the seductive potential and unsettling force of everyday imagery. In his photomontages, he combines and defamiliarizes found pictures using analog techniques, editing visual material with his scalpel to create surprisingly new and ever-topical narrative compositions. As in many of his drawings, the result is various layers of meaning, each of which gives rise to new realities, unexpected connections, and complex statements with personal or topical references to everyday life. The publication UNEXPECTED CONNECTIONS Montages and Drawings shows a cross section of Huber's recent works and is accompanied by a comprehensive essay by Eva Badura-Triska.Timo Huber, born in 1944 in Freistadt, Upper Austria, lives as an architect and artist in Vienna. He studied architecture at the Vienna University of Technology and worked on actions and films by the Vienna Actionists in 1967. His own artistic works as well as those of Zünd-Up and Salz der Erde have been shown in numerous exhibitions in Austria and abroad and are in important collections (Albertina, Vienna; Wien Museum; mumok - Museum moderner Kunst Stiftung Ludwig Vienna; Landesgalerie Linz; Lentos Kunstmuseum Linz; Centre Pompidou, Paris; Frac Centre-Val de Loire, Orléans; Victoria and Albert Museum, London).

In diesem archivalisch angelegten Band sind Gertrude Moser-Wagners wichtigste Projekte und Werke der vergangenen zehn Jahre zusammengefasst. Der Werkbegriff der Projektkünstlerin und Bildhauerin hat eine forschende Hinwendung nach außen - zu Orten, Straßen, Städten, aber auch zu Natur und Tieren. Worte und Fundstücke haben diese Bildhauerei seit jeher befragt: Handlung, das konkrete Herausfiltern von etwas aus allem. Lebendigkeitsbegriffe. Das Freiluftatelier ist oft Studienort, ermöglicht Fremdsein, Reisen. Es entstehen bewegliche, relationale Gebilde in Medien und Materialien. Gesten im Raum, geschöpft aus dem, was vorliegt.Viele ihrer jüngsten Projekte sind künftigen Prozessen verpflichtet. Ihr konzeptuelles Verfahren ist poetisch-politisch. Ein Überblick wird darin versucht, eine Balance herzustellen, die es in der Physik nicht gibt - vergleichbar der Erde, auf der alles steht oder schwankt, die sich auch stets erneuert. Unmerklich dringt durch diese Kunst daher das Bodenleben des Widerständigen und wird zur Kritik am Bestehenden. Solche Projekte werden oft partizipierend ausgetragen.

With his building and landscape project Die Grube / The Pit Peter Noever has created a Land Art monument in Breitenbrunn in Burgenland unequaled in Austria. Since the early 1970s, he has been building and expanding his Gesamtkunstwerk architecture, inviting artists and architects to design, install, exhibit and perform there (as W. Pichler, B. Rudofsky, C. Scarpa, J. Turrell, A. Castiglioni, Six & Petritsch). In an in-depth conversation Noever reveals his intentions toward art and architecture.

Mit einem Textbeitrag von Roland Schöny und einem Selbstgespräch der Künstlerin / Buchgestaltung: Ismini AdamiAus den Tiefen des Elektronischen kommen die Werke der in verschiedenen Medien arbeitenden Künstlerin Simone Carneiro. In ihrem Kern sind sie algorithmisch strukturiert und entfalten sich entlang der Koordinaten des Abstrakten. Der Zufall spielt eine wichtige Rolle, da der Prozess der Entstehung oft in Dimensionen des Unabsehbaren führt. Prozesse der Massenkommunikation im Internet schaffen die Rahmenbedingungen. Auf Grundlage der häufigsten Fragen, die von User:innen in die Echoräume des Internets ausgeschickt werden, setzt sie ein Spiel in Gang, in dem sprachlich determinierte Zeichenketten in bildliche Strukturen übersetzt werden.Simone Carneiro ist medienübergreifend aktiv, sie verknüpft verschiedene Arbeitsmethoden, Ausdrucksmittel und Technologien, Malerei, Collage, Video, Animation, Installation und audiovisuelle Performance, aber auch alte und neue Drucktechniken. Sie lebt und arbeitet in Wien.

Snapshots from a suspended moment within a global pandemic: a select group of artists, architects, and thinkers with feet in both Vienna and Los Angeles consider the shape of a future in flux-a spontaneous record in form of a brief written or visual statement to capture an outlook in the future flavored by this very moment in suspense, sheltered in place, and socially distant.Contributions by Hitoshi ABE Alfredo BARSUGLIA Doris BERGER Estudio CRUZ + FORMAN Heinrich DUNST Gregor EICHINGER Andreas FOGARASI April GREIMAN Nik HAFERMAAS Edgar HONETSCHLAEGER Barbara IMHOF Piotr JANOWSKI Bettina KHANO Kasper KOVITZ Elke KRYSTUFEK Helmut LANG Alexandra LIEBEN Mark MACK Robert MENASSE Christoph MEIER & Yuri STONE Kimberli MEYER Markus MITTRINGER Eric Owen MOSS Silke OTTO KNAPP Johannes PORSCH Wolf D. PRIX Michael ROTONDI Stefan SCHERER Eva SCHLEGEL Jakob SELLAOUI SPAN The NEXT ENTERPRISE Daniela ZYMANEpilogue by Thom MAYNEAndrea LENARDIN, born in Austria, lives and works as an architect and creative director in Los Angeles. Peter NOEVER, Vienna-based curator, designer, founder of the MAK Center for Art and Architecture, Los Angeles.