In Sophie Ristelhueber’s artworks and installations, the photographed landscape appears in fragments: damaged, rent, pockmarked. These traces of history and conflict, which the artist calls ‘details of the world’, are like scars on a body, and they convey a similar tale of wounds scarcely healed. Ristelhueber has been photographing these metaphorical scars in war-torn places like Beirut, Kuwait, Bosnia and Iraq since 1982, recording the violence inflicted on the surface of the earth by the machinery of war. Rather than focusing on the geopolitical meaning of a particular conflict, she is engaged with the ambiguities of what she calls the ‘terrain of the real and of collective emotions’. Ristelhueber’s approach implies that the current world situation is part of an unceasing historical cycle of destruction and construction – in her photographs, the surface of the land becomes a kind of palimpsest on which the disfiguring marks of decades of conflict continue to be recorded.