![]() ![]() 4 Josef Albers argued for multiple points of view in the name of free vision, in “Graphic Tectonic” 1 (.).Be it in literature, 2 cinema 3 or music, the acts of sampling, clipping and assembling were everywhere. At the intersection of photography, assemblage, montage, collage, as well as ready-made and vernacular samplings often from the mainstream press, the principle of photomontage was omnipresent in artistic creation of the time. Nevertheless, photomontage underwent profound transformation following its adoption by historical avant-garde artists, as they set themselves apart from earlier experiments. As Laurent Koetz emphasizes in his article on Louis-Auguste Boileau, found in this dossier, one thing is certain: “photomontage is by no means an invention of the early twentieth-century avant-gardes , but rather had already established a widespread and diverse presence in nineteenth-century photography.” 1 This is also the case regarding landscape designers, as we will see. , p. 11.Ģ Like many inventions, the origins of photomontage are difficult to pinpoint. 3 Such as “L’Homme à la camera” by Dziga Vertov see Jean-Marc Lachaud, ibid.2 Such as Maïakovski see Jean-Marc Lachaud, Collages, Montages, Assemblages au XX e siècle, vol. 1 L’ (.).1 Bernd Stiegler, “Francis Galton et la photographie composite,” Transborder, Photographie, Histoire, (.).Photomontage and the Avant-Gardes, the Prolific Interwar Period While little has been theorized about photomontage to date, there have been a number of significant theoretical reflections on the subject, which we will address in this introduction. ![]() Inspired by the Surrealists, Stern explores the human unconscious through fiction whereas Borelli questions the relationship between people and the built world, with a more societal focus. Both of these women situate their practice in line with the historical avant-gardes. In the same spirit, the present issue explores the vast range of photomontage practices, through in-depth historical and contemporary case studies, a translated lecture by Grete Stern, and a portfolio by contemporary artist Caterina Borelli. Further, in the realm of contemporary images, it offers a unique opportunity to shed light on exchanges between disciplines and analyze the changes in the field of representation. While photography has prompted all kinds of experimentation since it first appeared, photomontage has become a representational tool, challenging the relationship between space and time. 1 Since the nineteenth century, manipulated photographs have been used in presentations to illustrate the impact of architecture and landscape design on urban scenery, particularly in large-scale projects or buildings of historical and artistic importance. ![]()
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