An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
Everything is a question of perspective. The realisation that perspective influences perception, and ultimately our image of reality, is subtly reflected in Thomas Wrede’s photographs. Wrede creates new visual worlds that only exist through the photograph and in the photograph. In the interplay between staging and reality, truth and illusion, reality and fiction, these 'illusory worlds' demand a growing awareness of what we see and how we see. His images break our habits of perception that are shaped by expectations. At the same time, the photograph’s claim to reality is challenged.
In his most famous series, 'Real Landscapes', Wrede constructs scenes that present themselves to the viewer as impressive landscape images. The photographs show a moment of supposedly familiar reality, seemingly reproduced without any artificiality or staging. At first glance, the places seem real. But the illusion in his images is never absolute and so disconcerting fractures suddenly appear. The highly detailed miniature worlds of familiar architectural, street, and nature scenes seem strangely exposed in the real landscapes. This deception originates from blurring the boundaries of different levels of reality in the photo. The generally panoramic view evokes associations with Romantic painted landscapes.
Wrede reflects a longing for nature in his various series of works while asking questions about its representation in the media and its portrayal. In the series 'Wrapped Landscapes', these images of longing can be found in photographs of model railway trees, photographed inside their packaging in front of landscape backgrounds, as they are usually presented in model train accessory packs. The artist thus creates original picture-in-picture compositions, wondrous landscapes whose artificiality cannot be concealed.
Complex spaces are also created using the picture-in-picture technique in his series 'Domestic Landcapes'. Wrede photographed photographic wallpaper that used to be very common in German homes. The supposed outdoor views combine with the interior spaces and their furniture in an idiosyncratic way to create a new image overall.
Finally, the images in the 'Seascapes' series show real beach scenes. With a view into the distance and the endless expanse of the beaches, these panoramic pictures reflect the aesthetics of the sublime. At the same time they irritate us. People suddenly seem miniature in the virtually boundless natural space.
Reality or scenery? Thomas Wrede’s works show how reality and fiction can be merged. The magic of his photographs is due to a skilful interplay of perspective, light, and technical perfection.
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