Info
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ENCYCLOPEDIA OF POTENTIAL TRUTH
On the Ordering of Images
The Encyclopedia of Potential Truth (EoPT) functions as a critical tool that centers on the representation of knowledge through the medium of photography. Developed as a graduation project at Hochschule Hannover, the work is both a reflection on traditional documentary photography and an attempt to explore new narrative possibilities.
The EoPT breaks away from the structure of conventional encyclopedias and invites viewers to wander through a labyrinth of topics that appear, at first glance, entirely unrelated. From the cave paintings of Lascaux to the first images of the far side of the moon, from the early formulations of quantum physics on Helgoland to the assassination of Archduke Franz Ferdinand or the biological experiments of the Heck brothers—an alternative narrative of knowledge unfolds, one that blurs the boundaries between science, history, and art. Throughout the entire process—from research to production to editing—I was guided by the principle of serendipity.
At the heart of this multiplicity lies a reflection on the many potential forms of truth and the significance of representation. The EoPT encourages viewers to acknowledge the surface qualities of images while using them to forge unconventional connections. These connections prompt us to question inherited narratives—not to settle into fixed explanations, but to explore new ways of engaging with the world, to open space and broaden discourse. It is an attempt to think with images, about images, and especially between images.
Concepts such as Peirce’s abduction and Wittgenstein’s language games helped me reflect on the function of narratives and images, and to develop a practice grounded in these theoretical considerations.
The EoPT is therefore not merely a book, but a living instrument—one that invites viewers to perceive the world anew. It encourages them to cross the boundaries of established stories and venture into the unknown. For beauty lies in ambiguity, truth in multiplicity, and insight in the process itself.
The final publication comprises 634 pages: 403 photographs, 43 textual fragments, 4 timelines, and 439 footnotes.
On the Ordering of Images
The Encyclopedia of Potential Truth (EoPT) functions as a critical tool that centers on the representation of knowledge through the medium of photography. Developed as a graduation project at Hochschule Hannover, the work is both a reflection on traditional documentary photography and an attempt to explore new narrative possibilities.
The EoPT breaks away from the structure of conventional encyclopedias and invites viewers to wander through a labyrinth of topics that appear, at first glance, entirely unrelated. From the cave paintings of Lascaux to the first images of the far side of the moon, from the early formulations of quantum physics on Helgoland to the assassination of Archduke Franz Ferdinand or the biological experiments of the Heck brothers—an alternative narrative of knowledge unfolds, one that blurs the boundaries between science, history, and art. Throughout the entire process—from research to production to editing—I was guided by the principle of serendipity.
At the heart of this multiplicity lies a reflection on the many potential forms of truth and the significance of representation. The EoPT encourages viewers to acknowledge the surface qualities of images while using them to forge unconventional connections. These connections prompt us to question inherited narratives—not to settle into fixed explanations, but to explore new ways of engaging with the world, to open space and broaden discourse. It is an attempt to think with images, about images, and especially between images.
Concepts such as Peirce’s abduction and Wittgenstein’s language games helped me reflect on the function of narratives and images, and to develop a practice grounded in these theoretical considerations.
The EoPT is therefore not merely a book, but a living instrument—one that invites viewers to perceive the world anew. It encourages them to cross the boundaries of established stories and venture into the unknown. For beauty lies in ambiguity, truth in multiplicity, and insight in the process itself.
The final publication comprises 634 pages: 403 photographs, 43 textual fragments, 4 timelines, and 439 footnotes.
Elias Holzknecht is a photographer based in Graz and Längenfeld, Austria. He grew up in Ötztal and studied in Hannover and Ghent.
Info
X
ENCYCLOPEDIA OF POTENTIAL TRUTH
On the Ordering of Images
The Encyclopedia of Potential Truth (EoPT) functions as a critical tool that centers on the representation of knowledge through the medium of photography. Developed as a graduation project at Hochschule Hannover, the work is both a reflection on traditional documentary photography and an attempt to explore new narrative possibilities.
The EoPT breaks away from the structure of conventional encyclopedias and invites viewers to wander through a labyrinth of topics that appear, at first glance, entirely unrelated. From the cave paintings of Lascaux to the first images of the far side of the moon, from the early formulations of quantum physics on Helgoland to the assassination of Archduke Franz Ferdinand or the biological experiments of the Heck brothers—an alternative narrative of knowledge unfolds, one that blurs the boundaries between science, history, and art. Throughout the entire process—from research to production to editing—I was guided by the principle of serendipity.
At the heart of this multiplicity lies a reflection on the many potential forms of truth and the significance of representation. The EoPT encourages viewers to acknowledge the surface qualities of images while using them to forge unconventional connections. These connections prompt us to question inherited narratives—not to settle into fixed explanations, but to explore new ways of engaging with the world, to open space and broaden discourse. It is an attempt to think with images, about images, and especially between images.
Concepts such as Peirce’s abduction and Wittgenstein’s language games helped me reflect on the function of narratives and images, and to develop a practice grounded in these theoretical considerations.
The EoPT is therefore not merely a book, but a living instrument—one that invites viewers to perceive the world anew. It encourages them to cross the boundaries of established stories and venture into the unknown. For beauty lies in ambiguity, truth in multiplicity, and insight in the process itself.
The final publication comprises 634 pages: 403 photographs, 43 textual fragments, 4 timelines, and 439 footnotes.
On the Ordering of Images
The Encyclopedia of Potential Truth (EoPT) functions as a critical tool that centers on the representation of knowledge through the medium of photography. Developed as a graduation project at Hochschule Hannover, the work is both a reflection on traditional documentary photography and an attempt to explore new narrative possibilities.
The EoPT breaks away from the structure of conventional encyclopedias and invites viewers to wander through a labyrinth of topics that appear, at first glance, entirely unrelated. From the cave paintings of Lascaux to the first images of the far side of the moon, from the early formulations of quantum physics on Helgoland to the assassination of Archduke Franz Ferdinand or the biological experiments of the Heck brothers—an alternative narrative of knowledge unfolds, one that blurs the boundaries between science, history, and art. Throughout the entire process—from research to production to editing—I was guided by the principle of serendipity.
At the heart of this multiplicity lies a reflection on the many potential forms of truth and the significance of representation. The EoPT encourages viewers to acknowledge the surface qualities of images while using them to forge unconventional connections. These connections prompt us to question inherited narratives—not to settle into fixed explanations, but to explore new ways of engaging with the world, to open space and broaden discourse. It is an attempt to think with images, about images, and especially between images.
Concepts such as Peirce’s abduction and Wittgenstein’s language games helped me reflect on the function of narratives and images, and to develop a practice grounded in these theoretical considerations.
The EoPT is therefore not merely a book, but a living instrument—one that invites viewers to perceive the world anew. It encourages them to cross the boundaries of established stories and venture into the unknown. For beauty lies in ambiguity, truth in multiplicity, and insight in the process itself.
The final publication comprises 634 pages: 403 photographs, 43 textual fragments, 4 timelines, and 439 footnotes.
Info
X
ENCYCLOPEDIA OF POTENTIAL TRUTH
On the Ordering of Images
The Encyclopedia of Potential Truth (EoPT) functions as a critical tool that centers on the representation of knowledge through the medium of photography. Developed as a graduation project at Hochschule Hannover, the work is both a reflection on traditional documentary photography and an attempt to explore new narrative possibilities.
The EoPT breaks away from the structure of conventional encyclopedias and invites viewers to wander through a labyrinth of topics that appear, at first glance, entirely unrelated. From the cave paintings of Lascaux to the first images of the far side of the moon, from the early formulations of quantum physics on Helgoland to the assassination of Archduke Franz Ferdinand or the biological experiments of the Heck brothers—an alternative narrative of knowledge unfolds, one that blurs the boundaries between science, history, and art. Throughout the entire process—from research to production to editing—I was guided by the principle of serendipity.
At the heart of this multiplicity lies a reflection on the many potential forms of truth and the significance of representation. The EoPT encourages viewers to acknowledge the surface qualities of images while using them to forge unconventional connections. These connections prompt us to question inherited narratives—not to settle into fixed explanations, but to explore new ways of engaging with the world, to open space and broaden discourse. It is an attempt to think with images, about images, and especially between images.
Concepts such as Peirce’s abduction and Wittgenstein’s language games helped me reflect on the function of narratives and images, and to develop a practice grounded in these theoretical considerations.
The EoPT is therefore not merely a book, but a living instrument—one that invites viewers to perceive the world anew. It encourages them to cross the boundaries of established stories and venture into the unknown. For beauty lies in ambiguity, truth in multiplicity, and insight in the process itself.
The final publication comprises 634 pages: 403 photographs, 43 textual fragments, 4 timelines, and 439 footnotes.
On the Ordering of Images
The Encyclopedia of Potential Truth (EoPT) functions as a critical tool that centers on the representation of knowledge through the medium of photography. Developed as a graduation project at Hochschule Hannover, the work is both a reflection on traditional documentary photography and an attempt to explore new narrative possibilities.
The EoPT breaks away from the structure of conventional encyclopedias and invites viewers to wander through a labyrinth of topics that appear, at first glance, entirely unrelated. From the cave paintings of Lascaux to the first images of the far side of the moon, from the early formulations of quantum physics on Helgoland to the assassination of Archduke Franz Ferdinand or the biological experiments of the Heck brothers—an alternative narrative of knowledge unfolds, one that blurs the boundaries between science, history, and art. Throughout the entire process—from research to production to editing—I was guided by the principle of serendipity.
At the heart of this multiplicity lies a reflection on the many potential forms of truth and the significance of representation. The EoPT encourages viewers to acknowledge the surface qualities of images while using them to forge unconventional connections. These connections prompt us to question inherited narratives—not to settle into fixed explanations, but to explore new ways of engaging with the world, to open space and broaden discourse. It is an attempt to think with images, about images, and especially between images.
Concepts such as Peirce’s abduction and Wittgenstein’s language games helped me reflect on the function of narratives and images, and to develop a practice grounded in these theoretical considerations.
The EoPT is therefore not merely a book, but a living instrument—one that invites viewers to perceive the world anew. It encourages them to cross the boundaries of established stories and venture into the unknown. For beauty lies in ambiguity, truth in multiplicity, and insight in the process itself.
The final publication comprises 634 pages: 403 photographs, 43 textual fragments, 4 timelines, and 439 footnotes.
IMPRINT Copyright 2025, Elias Holzknecht / Lilienthalgasse 25 / 8020 Graz / ATU 67804414 / Design+Development: Zwupp.com / AGB
Elias Holzknecht is a photographer based in Graz and Längenfeld, Austria. He grew up in Ötztal and studied in Hanover and Ghent.
His work revolves around critical storytelling with the medium of photography in ecological and social contexts.
Part of What's left of Photography.
Part of Freies Atelierhaus Schaumbad.
Instagram
office@eliasholzknecht.at
0043 664 123 6921
office@eliasholzknecht.at
0043 664 123 6921
AWARDS
2023
C/O Berlin Talent Award 2023
"Micheldorf Micheldorf Micheldorf Micheldorf“
Shortlist 2023
START Stipend for artistic photography;
Federal Chancellery of Austria 2021
Journalistenpreis Punkt – Deutsche Akademie der Technikwissenschaften
"Es werde Schnee" 2020
VGH-Fotopreis
"Es werde Schnee" 2018
Lumix Festival
"Josef" / audience award
2023
C/O Berlin Talent Award 2023
"Micheldorf Micheldorf Micheldorf Micheldorf“
Shortlist 2023
START Stipend for artistic photography;
Federal Chancellery of Austria 2021
Journalistenpreis Punkt – Deutsche Akademie der Technikwissenschaften
"Es werde Schnee" 2020
VGH-Fotopreis
"Es werde Schnee" 2018
Lumix Festival
"Josef" / audience award
EXHIBITIONS
2024
"Micheldorf Micheldorf Micheldorf Micheldorf" – group show
Les Rencontres d‘Arles / FRA
(planed)
2024
"Baumhäuser" – solo show
Heimatmuseum Tarrenz / AUT
(planed)
2024
"Muskrat" – group show
Werkschau Schaumbad / AUT
2023
"Micheldorf Micheldorf Micheldorf Micheldorf" - group show
Goethe Exil / Hannover / GER
2022
"Josef" – group show – First Pages
Rautenstrauch-Joest-Museum / GER
2022
"Es werde Schnee" – group show
Wiesbadener Fototage / GER
2021
"Es werde Schnee" - solo show
Galerie im Glockhof / Lüneburg / GER
2021
"Micheldorf Micheldorf Micheldorf Micheldorf“ - graduation show
KASK Gent / BE
2019
"Es werde Schnee“ – screening
Chobi Mela Festival / BD
2018
"Josef" – group show
visa OFF / visa pour l’image Perpignan / FRA
2024
"Micheldorf Micheldorf Micheldorf Micheldorf" – group show
Les Rencontres d‘Arles / FRA
(planed)
2024
"Baumhäuser" – solo show
Heimatmuseum Tarrenz / AUT
(planed)
2024
"Muskrat" – group show
Werkschau Schaumbad / AUT
2023
"Micheldorf Micheldorf Micheldorf Micheldorf" - group show
Goethe Exil / Hannover / GER
2022
"Josef" – group show – First Pages
Rautenstrauch-Joest-Museum / GER
2022
"Es werde Schnee" – group show
Wiesbadener Fototage / GER
2021
"Es werde Schnee" - solo show
Galerie im Glockhof / Lüneburg / GER
2021
"Micheldorf Micheldorf Micheldorf Micheldorf“ - graduation show
KASK Gent / BE
2019
"Es werde Schnee“ – screening
Chobi Mela Festival / BD
2018
"Josef" – group show
visa OFF / visa pour l’image Perpignan / FRA