The texts in group.sex discuss political groups and languages, abstract radicalism and art, feminism and bohemianism, social hierarchies, and telematic friendship.

Decoy documents the eponymous exhibition at Landesgalerie Linz in 2011 in which Grubinger presented large-scale sculptural works, all of which referenced the fishing—lures, mooring rings, a dock—and both subtly and explicitly engaged a vocabulary of the alluring.

Against the historical backdrop of expansions of the notion of sculpture, one could think that the sculptural discipline has become defined by its near arbitrary malleability, since practically anything can be construed as sculpture. Yet there seems to be a revived interest in the history of sculpture, especially traditional techniques, which often appear appealing, even radical, in the age of the Internet and social media.

With sculpture as a leading reference, the contributions address theory, aesthetics, and technology: Do current philosophical movements such as new materialism and object-oriented ontology affect our notion of the art object? Does so-called post-Internet art have a future? And how does the Internet of Things relate to objects and things in art?

Eva Grubinger’s exhibition explores the idea of psychological landscapes—a physical or mental journey—that evokes ideas of escapism and the search for the self. Released in conjunction with the show, this catalogue features visual documentation of the exhibition by Sylvain Deleu, and an accompanying text by Fatos Üstek.