Markus Krottendorfer’s photographs are set in the field of tension between document and narrative: His series are always concerned with the aspect of the processual and the aspect of recording historical courses of time and the artist as a witness of the times. At the same time, they express a time that is already past and irrecoverable at the moment the photo is taken. You might say that this is true of every photograph, but in Krottendorfer’s work it cuts to the core of a brutal truth: For the gigantic construction projects that he photographs at the four corners of the globe involve incisive interferences in nature and the urban landscape -that become images of extreme social upheaval in his photographic handling. The artistic work taps into not only a real, but also a fictional space: Excerpts of time, real and now already only remembered places superimposed by history and its allocations. Ours is also a photographical memory, and the pictures are precisely about this intermediate state between the real place and the fictionalised space.