Photography . Real Landscapes

Freibad . 2019 . 95 x 120 cm _ 140 x 180 cm

Stadt am See . 2018 . 95 x 135 cm _ 170 x 240 cm

Fred & Red's Cafe . 2015 . 95 x 120 cm_170 x 220 cm

Real Landscapes . In: The Detour of the Real . Seoul Musuem of Art . Seoul . 2011

The luminous Screen 2015 . 95 x 130 cm _ 140 x 190 cm

Drive-In Theatre . 2009 . 95 x 130 cm _ 140 x 190 cm

Crocodile Islands . 2020 . 95 x 145 cm _ 140 x 210 cm

Schlammlawine . 2020 . 95 x 160 cm _ 120 x 200 cm

Real Landscapes . In: Auf das große Westmeer schauend . Museum Kunst der Westküste (Sammlung) . 2023

Nach der Flut 1 . 2012 . 95 x 135 cm _ 140 x 200 cm

Nach der Flut . In: Schwindel der Wirklichkeit . Akademie der Künste Berlin . 2014

Nach dem Regen . 2012 . 95 x 120 cm _ 140 x 180 cm

Früher Morgen bei den Korallenmoos-Inseln 2016 . 80 x 160 cm _ 120 x 240 cm

Bauruinen . 2012 . 95 x 120 cm _ 140 x 180 cm

Mole . 2012 . 95 x 120 cm _ 140 x 180 cm

At the end of the Road . 2014 . 95 x 120 cm _ 140 x 180 cm

Strandhotel . 2008 . 95 x 120 cm _ 140 x 180 cm

Bolzplatz . 2008 . 95 x 120 cm _ 140 x 180 cm

Achterbahn-Ruine („Wilde Maus“) . 2013 . 80 x 165 cm _ 120 x 250 cm

Thomas Wrede . Idylle und Desaster . Beck & Eggeling . Düsseldorf . 2012

Reste der „Wilden Maus“ . 2013 . 80 x 150 cm _ 120 x 220 cm

Achterbahn in einer Winternacht 2014 . 95 x 165 cm _ 140 x 200 cm

Road to Nowhere . 2012 . 95 x 120 cm _ 140 x 180 cm

Im Tertiärtal . 2008 . 95 x 120 cm _ 140 x 180 cm

Container im Eis . 2014 . 95 x 120 cm _ 140 x 180 cm

Bäume im Schnee . 2010 . 95 x 165 cm _ 120 x 210 cm

Eisloch . 2010 . 95 x 120 cm _ 140 x 180 cm

Real Landscapes . Kopeikin Gallery . Los Angeles. 2014

Bohrturm . 2010 . 95 x 120 cm _ 140 x 180 cm

Bunker im Schnee . 2010 . 95 x 120 cm _ 140 x 180 cm

Fjord 2010 . 95 x 137 cm _ 170 x 245 cm

Strandwiese bei Nacht . 2009 . 95 x 160 cm _ 140 x 230 cm

Dari King Drive In . 2007 . 95 x 120 cm _ 170 x 220 cm

Dari King Drive in . In: Schwindel der Wirklichkeit . Akademie der Künste Berlin . 2014

Oberhalb des Tales . 2009 . 95 x 120 cm _ 170 x 210 cm

Graue Stadt 2009 . 120 x 95 cm / 190 x 150 cm

Weiße Stadt am Berg 2016 . 95 x 140 cm _ 140 x 210 cm

Hochhaussiedlung im Gegenlicht . 2008 . 95 x 185 cm _ 120 x 230 cm

Inseln . 2008 . 120 x 95 cm _ 190 x 150 cm

Seenlandschaft . 2010 . 95 x 130 cm / 140 x 200 cm

Haus am See . 2005 . 60 x 90 cm _ 120 x 180 cm

Old Waggons . 2007 . 95 x 120 cm _ 140 x 180 cm

Autos . 2005 . 95 x 120 cm _ 120 x 150 cm

Haus über den Dünen . 2007 . 95 x 120 cm _ 120 x 150 cm

Haus im Gebirge . 2007 . 80 x 160 cm _ 120 x 240 cm

Bergrutsch . 2005 . 120 x 95 cm _ 190 x 150 cm

Bergrutsch . Nach der Flut . In: Reset, Kunstmuseum Ahlen, 2022

Brücke . 2007 . 120 x 95 cm _ 190 x 150 cm

Haus unter roter Wolke . 2005 . 95 x 150 cm _ 120 x 190 cm

Wohnwagen am Feuer . 2005 . 60 x 120 cm _ 120 x 240 cm

Wiese . 2005 . 60 x 145 cm _ 120 x 290 cm

Siedlung in der Sonne . 2005 . 95 x 120 cm _ 120 x 150 cm

Siedlung . 2005 . 60 x 168 cm _ 120 x 340 cm

Siedlung mit Straße . 2005 . 50 x 97 cm _ 95 x 185 cm

Real Landscapes . In: disURBANces. European Month of Photography Luxembourg . Musée national d'histoire et d'art . MNHA Luxembourg

Haus auf Hochebene . 2005 . 95 x 120 cm _ 120 x 150 cm

Panorama mit Tannen . 2004 . 60 x 120 cm _ 120 x 240 cm

Real Landscapes im Bundesministerium für Landwirtschaft Berlin . Sammlung des Bundes . Kunst-am-Bauprojekt

Real Landscapes . Paris Photo 2014 im Grand Palais . vertreten durch Photo & Contemporary (Turin)

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The ideas for my pictures are driven by impulses from the worlds of art and media, and I complement these with images of personal and cryptic significance. As is evident in my earlier series of works, I use commonplace objects for the staging of my pictures. Toy cars, classic-model houses and miniature pine trees taken from a model train kit are placed on North Sea beaches, in coal dumps, on garbage heaps and piles of rubble.

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THOMAS WREDE

REAL LANDSCAPES

Somewhere between the idyllic and catastrophic

What Wrede extracts from a couple of low lying hills, a few cubic meters of sand, and some toy houses are images of stunning clarity, but also scenarios for enigmatic psycho-dramas, which by no means evoke a mere coincidental reminiscence of the landscape paintings of Giotto to C.D. Friedrich or films with the rocky silhouettes of John Ford to the nocturnal foreboding of Hitchcock. Included in these, are images of wistful yearning, the spirit of which we absorb, but also imagery vacillating between idyll and debacle. Pictures in which lifestyles condense: constantly in motion, never reaching a destination, cessation and departure all at once.

Manfred Schneckenburger

For the past years, the vantage point of my work has always begun with a deep emotional need to be linked with nature and the question of how this is presented within today’s media. I am inclined to explore the boundaries between simulation and reality. In the series “Real Landscapes” (2004 – 2014), I reproduce the world as a sort of model kit. Large impact scenes are presented on a very small scale. Images and replicas vacillate between the idyllic and the catastrophic.

It is of vital importance to me to get out and be exposed to the countryside and thus stimulated by all its unique light and weather situations. Then, using only a few simple means, I create novel worlds of imagery that exist exclusively through photography, by photography, as a photograph.

The viewer experiences a visual transformation in which the microstructures of the soil become the multifaceted macrostructures of the earth’s surface. Only after careful scrutiny can the incongruities and proportional discrepancies be detected. The photographs were taken outdoors using an analogue plate camera, and afterwards underwent minimal digital optimization. The photographic illusions are not a result of digital processing, but occur rather in the absence of dimensional comparisons within the real landscapes.

translation by Stephanie Klco Brosius