EXIT #35 traces the use of photocollage and photomontage from modernism to the present day.

Changing the world is not easy, (...) but to change its image, its appearance, that is more feasible. It is merely a matter of cutting and pasting." The Eye that Cuts Like a Knife, Rosa Olivares.

Rosa Olivares, editor of EXIT Image and y Culture, deals in her editorial with the political capacity and the utopian proposal which photocollage and photomontage have as technique since their beginnings.

"Collage can construct contradictions, and reveal them. Its assault on outlines and boundaries can dissolve identities and forge new ones." The Cutting Edge, Brandon Taylor.

Brandon Taylor, Professor of History of Art at Southampton University, reflects in his essay on the two basic ways in which collage has developed, and the mode in which they have been used: the straight cut and the cut which traces the outline of an image.

"I've been included in a lot of photography exhibitions (...) I've always found myself to be a slightly uncomfortable presence." John Stezaker.

In the interview with John Stezaker by the renowned British critic Barry Schwabsky, the artist speaks of his special relationship with photography through the analysis of his collages.

"Warburg had understood that thought is a matter not of forms found but of forms in transformation." The Picture Atlas, Georges Didi-Huberman.

The eminent French philosopher and art historian, Georges Didi-Huberman, analyses the concept of montage through the work of Aby Warburg, founder of iconography.

"In a world saturated with images, visual art increasingly identifies with the montage, combination and transformation of snatched images". Sampling-Collage, Juan Martín Prada.

Juan Martín Prada, Senior Lecturer at the Universidad de Cádiz, analyses the forms of sampling and remix as a contemporary continuation of the photocollage and photomontage tradition.

"And if photography is anything it is first and foremost about compression". Compression, Paul Wombell.

Paul Wombell, one of the most celebrated European photography critics and curators, analyses the way in which, through the technique of the compression of images, photography is able to concentrate time and space, altering memory.

Texts: Georges Didi-Huberman, Juan Martín Prada, Brandon Taylor, and Paul Wombell.

Interview: John Stezaker by Barry Schwabsky.

Artists: Armando Andrade Tudela, Dorothea Behrens, Carol Bove, Nancy Burson, Carmen Calvo, Paul Citröen, Carol Condé & Karl Beveridge, Joseph Cornell, Donigan Cumming, Phillip Estlund, Joan Fontcuberta, Pablo Genovés, Meggan Gould, Andreas Gursky, Raoul Hausmann, Richard Hawkins, John Heartfield, Hanna Höch, huber.huber, Peter Kennard, Idris Khan, Barbara Kruger, Mark Leckey, Nicolás de Lekuona, Linder, Dora Maar, Sheena Macrae, Wardell Milan, Juan Luis Moraza, Abelardo Morell, Henna Nadeem, Javier Piñón, Kazimierz Podsadecki, Krzysztof Pruszkowski, Joan Rabascall, Fay Ray, Josep Renau, Kristine Roepstorff, Martha Rosler, Jason Salavon, Joachim Schmid, Rafa Sendín, Grete Stern, Miguel Ángel Tornero, Nicole Wermers, Michael Wesely, T.J. Wilcox, Stephen Willats.

BUY YOUR DIGITAL COPY HERE: