The modern way of seeing is to see in fragments.
Susan Sontag


The real instruments of creation are the mind and the eye, not the camera.
Francesc Català-Roca


In the last few years we have witness the change of the image production techniques and the way people use them. The XXI century is the century of the visual bulimia favoured by the multiplicity of supports for consumption. Where does that leave the testimonial photography of which Roland Barthes talks about not that long ago?


The digitalisation of technology contributes to a series of common characteristics to all the traditional image production media, which are different due to their nature. Therefore, we should speak about photography as a discipline in which the viewer is not allowed anymore to distinguish neither the different arts involved (cinema, painting, design...) nor the supports (domestic screens, theatres, computers, mobiles, graphic tables...). They are no more separate concepts and do share, increasingly more, languages discursive specificities. The characteristic of the photography of the XXI century is the capacity to recreate the technical procedures that does not have by nature.


That was the intention of the Russian photomontage artists, like Alexander Rodchenko, El Lissitzky or Gustav Klucis, when they talked about a hybrid term to define their creations, destined to visually transmit a new political message through the press. The procedure was known as poligraphy. In essence, it was just the fusion among photography, collage, design and typography, past through the photomechanics filter.


Poligraphies of the 21st invites you to walk through the new media and supports, which allow us to do an audiovisual hybridisation and a mixing process, a kind of «digital poligraphy» combining several traditional disciplines and trying to erase their limits.


Welcome to the world of fragments.