The Vienna-based artist Klaus Mosettig is presenting a selection of recent drawings in the Secession’s Gallery. Mosettig conceives his works in groups that, while differing in terms of subject matter and appearance, are based upon a consistent basic attitude. The Apollo 11 series goes back to a sequence of slides that Mosettig found at a flea market. The pictures are close-ups of the surface of the moon taken in the course of the first moon landing in 1969. Klaus Mosettig is not interested in the historical dimension but rather in the abstract nature of documentary images that cannot be interpreted unequivocally without context. The motif is not the moon but rather actual slides and their projection, meticulously transferred onto the paper base. Projection as a common device in current image production is as much a topic as the gesture of artistic representation in general in the traditional medium of drawing. In Mosettig’s work, the drawing consists throughout of hatchings of constant direction and density. What appears immaterial from a distance turns out on closer inspection to be a field of painstaking manual processing that emancipates itself from the events depicted.