German artist Thomas Wrede (b. 1963) studied at the Academy of Fine Arts in Münster from 1986 to 1992 and is now a professor of photography and new media at the University of Fine Arts Essen. Influenced by how nature is presented within today’s media, Real Landscapes (2004-2016) reproduces various topographies, traversing the lines between simulation and reality and manufacturing the colossal through the miniature. Wrede uses commonplace objects for the staging of the images: toy cars, classic houses and pine trees taken from a model train kit are placed on North Sea beaches, in coal dumps, on garbage heaps and piles of rubble. As a consequence, the compositions simultaneously depict a sense of the monumental and the idyllic, reduced to an existence dependent upon the lens of the camera. The sheer expanse of the environment is thrown into large-scale perspective through sparsely spread signs of civilisation.
Kurt Tong’s (b. 1977) current exhibition The Queen, The Chairman and I, reflects upon the self as an amalgamation of disparate parts.
With ‘Civil Rights & The Memphis Blues’ social historian Ernest C. Withers charts the struggle and soul of Memphis, Tennessee, in profound detail.