Österreichische Photographen befragen das eigene Land und seine soziokulturellen Identitäten. Ins Licht gerückt werden das Land, die politische Vergangenheit, Milieus und urbane Räume. Der Blick nach innen offenbart oftmals Aspekte, die im Begriff waren, zu verschwinden. Die 1970er Jahre sind von einem Aufbruch geprägt, in dem Photographen ein neues Selbstverständnis entwickeln und sich vielfältige photographische Strömungen herausbilden: Dokumentarische Strategien und die Auseinandersetzung mit dem Medium selbst zeichnen die Entwicklung der Photographie zwischen 1970 und 2000 aus. Vertretene Photographen: Heimrad Bäcker, Gottfried Bechtold, Norbert Brunner & Michael Schuster, Heinz Cibulka, Peter Dressler, VALIE EXPORT, Johannes Faber, Bernhard Fuchs, Seiichi Furuya, Robert F. Hammerstiel, Bodo Hell, Helmut Kandl, Leo Kandl, Friedl Kubelka, Branko Lenart, Elfriede Mejchar, Lisl Ponger, Gerhard Roth, Günther Selichar, Nikolaus Walter, Manfred Willmann.00Exhibition: Albertina, Vienna, Austria (14.06.-08.10.2017) / Museum der Moderne Mönchsberg, Salzburg, Austria (25.11.2017-04.03.2018).

Hans Hansen's Analog Project, which the artist has been engaged with since the 1990s, comprises a more or less complete document of all the equipment, utensils, and materials that he has needed and accumulated over his many years as a photographer making analogue prints. Is this collection an evidential record of a world-or rather a photographic practice-documented before it disappears, perhaps for good? Does it address a time of upheaval, in which digital media have begun to dominate the world? Would we use the terminology of crisis and catastrophe to describe this revolution, which is akin to the turmoil that photography once brought about? And what kind of archive is being created in the process? (Reinhard Braun) Hans Hansen, b. 1940 in Bielefeld, completed a training as a lithographer before going on to study applied graphics at the Kunstakademie Dü sseldorf. In 1962 he became a freelance (self-taught) photographer. He has lived and worked in Hamburg since 1967.

While most Western nations now officially accept homosexuality, in Iran it is still punishable by death. The only options for a homosexual in Iran are to choose transsexuality, which is tolerated by law, or to flee. The subjects of Iranian photographer Laurence Rastis (b. 1990, Geneva) elegant hardcover photo book live in the small Turkish town of Denizli, where hundreds of gay Iranians are waiting to move to a tolerant country. Rasti explores concepts of beauty, identity and gender in her spare and evocative images set in landscapes, mundane settings and street scenes, creating a new language of camouflage and discretion. Underlining the contrast between conspicuousness and obscurity, Rastis couples hide behind eye-catching props such as balloons or flowers or are glimpsed behind trees or bushes. She hides her subjects in plain sight, referencing the experience of these individuals who do not exist in Iran. Rasti was the Aperture Portfolio Award Finalist and Magnum Photo Award Jurors Pick (2016).

The Militant Image Reader brings together eight diverse texts from theorists and artists from Europe and North America that speculate on the relationship of artistic representation and social change today.Has a new protest paradigm emerged out of the framing and circulation of social upheaval and a new terrain of political action? And this paradigm multiple, shaped not only within the dominant media, grasped by political movements and reworked by artistic production? Under which conditions are contemporary images able to be effective and affective, and how do they unfold their meaning and create an impact? In which ways is the possible unfolding entangled simultaneously with the soicial and the political and the artistic? This publication engages with the militant image rather than seeking to define it. The militant image is as multiple as theories of social change and the conditions that must come together in order for change to happen. The militant image - perhaps ephemeral, elusive, whispering, and circulating at the threshold of invisibility - proposes that a new condition of the image seeks to respond to the radically uneven conditions of the present, yet the militant image always aims for future.