The exhibition of constructed photographs at the Schleifmühlgasse 12-14 gallery is based on a theoretic discourse
dealing with concepts of presence, photographed reality in absence, truth and photographic objectivity.
Constructing the view for the camera and the techniques of photo-montage as conceptual approaches share many issues,
the curator decided to point out the latter notion because in a certain way it deals with the issue of reality in photography more deeply
than the other.
The technique of photomontage (as applied in visual arts) was an important method for constructing images dating back to the early 1850‘s
with Henry Peach Robinson and Oscar Rejlander being the most successful, but the first golden era arose during the times of the historic
avant-gardes i.e. it was very common among Dada artists in the west and Constructivists in the east. The second golden age
dates from the mid 1950’s onward, when the techniques were applied by Richard Hamilton and Jerry Ueslmann for example; but it became widely
popular among the artists that art historians defined as being a part of the neo-avant-garde. We can now see
that the last decade has brought forth a considerable amount of photographers whom employ this technique with a full spirit
and sensibility. It may be hybrid identities and universes, kaleidoscopic visions, utopist ideas or apocalyptic fears
driving them to construct these kinds of images -- and to build upon the spirit of a new generation of photomontage.