In many of his projects, Markus Krottendorfer is interested in the foundations of our modernity and present, in the traces of fictions and mythologies and the conflicts between rationality and irrational desire that could still be virulent at the core of our societies. He always finds special places where traces of strange and contradictory (historical) world concepts can be found or places where questions about effectiveness or their (former) utopian potential can be asked. In this book, the disused Athens Ellinikon airport becomes the setting for his photographic and performative examination of the (architectural) remnants of ideologies that were formative until the 1960s: technical development, progress, growing prosperity, which also found expression in the increasing conquest of the world through travel. Airports became the embodiment of this “progress”, at the same time spaces for new social formations, and ultimately “non-places”, as Marc Augé described it. Through complex lighting, filters and the partial use of smoke, Krottendorfer transforms the rooms of the airport into an “illusionistic, theatrical psychedelia,” as Christian Egger writes in his text contribution. Architectural orders and spatial relationships are rewritten and rewritten into equally precisely composed photographs through these precise photographic productions. Krottendorfer relies exclusively on analogue photographic material. It seems as if a vanished world is being brought back to life in order to temporarily recapture these spaces as colorful but at the same time melancholic and eerie. Terminal documents Krottendorfer's uncompromising way of “thinking photography” (Christian Egger), which “compared to the infinitely possible, artificially intelligent other images appears lively, promising and subtle” (Christian Egger). (Reinhard Braun)