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Smoke and Mirrors documents television and cinema production spaces, which produce so much of our collective reality. Their centrality to the networks of the news and entertainment industries is however, at once obvious and surprising. Kur's photographs present the apparatus, facilities and machinery of stage sets; their intrinsic strangeness and 'separate reality'. By focussing on the jamais-vu of these locations, rather than their products - the fictions which have become so commonplace - the images reveal an unreal constructed world.

We are no longer astonished by the spectacles greeting us as we scan the television channels; whether reportage or drama and in whatever country we find ourselves viewers. Yet the fabrication of this imagery - its mediation or construction of a reality in complete accord with our expectations - is completely foreign. Despite the attempts, especially of reality shows, to feature more and more their own means of production, we are increasingly unable to reconcile the actual circumstances of filming with what we consume, precisely because of the necessities of the spaces that Kur presents.

 

 

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