Civilization: The Way We Live Now is a major exhibition opening at Seoul’s National Museum of Modern and Contemporary Art this October. It features the work of 100 of the world’s finest photographers. It addresses and illuminates major aspects of our increasingly global 21st century civilization. It stresses the fact that contemporary civilization is an extremely complex collective enterprise. Never before in human history have so many people been so interconnected, and so dependent on one another. In science and art, at work and play, we increasingly live the collective life. The Olympic Games, the giant Airbus, CERN, MRI, the Trident Submarine, Wikipedia, the Academy Awards, the International Space Station, Viagra, the laptop computer and the smartphone… However we feel about any of them, none of these complex phenomena would have been possible without superlatively coordinated efforts involving highly educated, highly trained, highly motivated, highly connected people.

Taken as a whole, this exhibition takes stock of our civilization’s material and spiritual culture, ranging from the ordinary to the extraordinary, and from civilization’s great collective achievements and its ruinous collective failings, expressing thoughts and feelings in the richly nuanced language of photography. And though it features photography of the real world, it embraces different ways of dealing with it, from the ‘straight’ document to the mise en scene.

Several works from my Merrie Albion series are included in the exhibition and book.

Curated by William EwingBartomeu Marí and Holly Roussell Perret-Gentil.



Published by Thames & Hudson.


Future exhibitions: 

Ullens Center for Contemporary ArtBeijing: March 2019 – May 2019

National Gallery of Victoria, Melbourne, Australia: September 2019 – February 2020

Musée des Civilisations de l’Europe et de la Méditerranée (MUCEM)Marseille, France: January 2021 – April 2021

The Brexit Lexicon is a newly produced video- installation work that explores the store of metaphors and verbiage that have become the stock in trade of politicians and journalists during the Brexit negotiations. Creating a compendium of the most common terms that have coloured the way Britain / EU have described current political discussions, the lexicon is read out by an anonymous news presenter sat in front of a green-screen and viewed on a television screen.

Alongside the Lexicon, Roberts is displaying a photographic work on street poster sites across the city. Between the Acts, 2018 is an artist poster featuring a photograph of the iconic white cliffs at Seven Sisters in Sussex coupled with a haunting quotation from Virginia Woolf.

The exhibition has been made possible with support from Arts Council England.



Flowers Gallery is pleased to present an exhibition by British photographer Simon Roberts, bringing together works from his extended photographic surveys of Russia and Britain produced over a period of 15 years.

Simon Roberts is known for his major bodies of work, We English, Pierdom, and Merrie Albion, which together comprise one of the most significant contemporary photographic studies of Britain since the new color documentary of the 1980s. His earlier series Motherland remains one of the most extensive, comprehensive photographic accounts of Russia by a Western photographer. Presented together in this exhibition, Homeland explores Roberts’ critical reflection on the relationship between contemporary national identity and place, and his ongoing investigation of what draws people together within a particular landscape.

Free entry and open Tuesday to Saturday 10am – 6pm

Simon will be in conversation with W.M Hunt on Saturday November 17 at 3.30pm.

Press Release: (pdf).

Image: Daniel Meadows National Portrait (Three Boys and a Pigeon) 1974. Courtesy the artist.

Prints from Merrie Albion are included in this new group exhibition Modern Nature: Photography that explores the merging of urban and rural landscapes in Britain.

For the first time in human history, more people are living in urban environments than in the countryside, yet the impulse to seek out nature remains as strong as ever. This new exhibition of photographs at The Hepworth Wakefield features leading British photographers Shirley Baker, Bill Brandt, Anna Fox, Chris Killip, Martin Parr and Tony Ray-Jones, Simon Roberts and explores our evolving relationship with the natural world and how this shapes individuals and communities.

Drawn from the collection of Claire and James Hyman, which comprises more than 3,000 photographs ranging from conceptual compositions to documentary-style works, Modern Nature will include around 60 photographs taken since the end of the Second World War, through the beginnings of de-industrialisation to the present day. It will explore the merging of urban and rural landscapes, the rapid expansion of cities and the increasingly intrusive management of the countryside.

Here’s a recent feature in the Guardian about the exhibition.

Modern Nature runs from 13 July until 22 April 2019 at The Hepworth Wakefield. Admission is free.



Another Europe‘ celebrates the European Year of Cultural Heritage and Austria’s Presidency of the Council of the European Union. The exhibition features 28 photographs, one from each EU Member-State, mounted on specially designed concrete benches around London’s Kings Cross area – the UK’s ‘Gateway to Europe’. Organised by Austrian Cultural Forum London.


To celebrate the European Year of Cultural Heritage and Austria’s Presidency of the Council of the European Union, the Austrian Cultural Forum London in collaboration with the Representation of the European Commission in the UK and EUNIC (European Union National Institutes of Culture) presents Another Europe, an outdoor exhibition of photographs, around the Kings Cross area of London, exploring the diversity of European Heritage.

Another Europe features 28 photographs, one from each EU Member-State, mounted on specially designed concrete benches dispersed around London’s King’s Cross area. The photographers represent a wide range of photographic practices and are a mixture of established and emerging talents. Together they voice themes and influences we all recognise as part of our cultural heritage from concrete manifestations such as monuments, buildings and sites to the more ephemeral social aspects such as childhood, fairytales; theatre, landscape, conflict, work, celebration, family, memories, literature and traditions.

Images of NATO observation towers by Belgian photographer Els van den Meersch contrast with those of a wedding ceremony in Greece by George Tatakis, Petra Lajdova’s striking portrait of a woman in traditional Slovakian clothing, Marketa Luskacova’sCzech carnival scenes or the installation of a Jeff Koons sculpture at Amsterdam’s Stedelijk Museum by Henk Wildschut. Italian photographer Massimo Vitali, famous for his heat-infused Mediterranean beach scenes, has photographed the Rome Forum while Simon Roberts (UK) brings us a very British beach scene of the Charles Dickens celebration at Broadstairs.

Curated by UK artist Hamish Park, the exhibiting artists are in full:

Jean Back (Luxembourg), Gerry Balfe Smith (Ireland), Jelena Blagović (Croatia), Paulo Catrica (Portugal) Emil Danailov (Bulgaria), Joanna Demarco (Malta), Alvaro Deprit (Spain), Tamas Dezso (Hungary), Jeanette Hagglund (Sweden), Nina Korhonen (Finland), Astrid Kruse Jensen (Denmark), Petra Lajdova (Slovakia), Marketa Luskacova (Czech Republic), Marlot & Chopard (France), Adam Panczuk (Poland), Klaus Pichler (Austria) Romualdas Požerskis (Lithuania), Birgit Püve (Estonia), Simon Roberts (UK), Oana Stoian (Romania), George Tatakis (Greece), Andrej Tarfila (Slovenia), Andreas Trogisch (Germany), Thodoris Tzalavras (Cyprus), Iveta Vaivode (Latvia), Els van den Meersch (Belgium), Massimo Vitali (Italy), Henk Wildschut (Netherlands).

I have several prints included in this group exhibition at Side Gallery in Newcastle.

Some of this country’s most compelling documentary photography has been about the North of England. Explore the role it plays – both as conversation with communities and arguments with power – in this exhibition of major historical and contemporary photography. Drawing on Side Gallery’s own extraordinary collections as well as other key works, you’ll delve into a tradition that continues to shape perceptions of the wider North.

Bringing together contemporary and historical representations of Blackpool’s piers, Neither Land nor Sea, documents the enduring appeal of the architecture, atmosphere and activity of these Seaside structures.

Alongside paintings and photographic works from the Grundy’s Collection, a series of images by 19th Century, Blackpool-based photographer, Albert Eden, will also be exhibited. Printed from glass slides; part of Blackpool Council’s Heritage Collections, these images will be shown alongside a selection of work from photographers based in, or with links to Blackpool and the Fylde Coast, for whom Blackpool’s piers are a frequent subject.

Featuring works by; Albert Eden, H. Burrell, Joseph Conrad Morley, Thomas Huson, Simon Roberts, Linzi Cason, Karl Child, Yannick Dixon, Claire Griffiths, Dawn Mander, Jill Reidy, Richard Jon and Kate Yates.

You can read a review of the exhibition in Corridor 8 HERE.

Image: H. Burrell Pavilion Fire, North Pier 1921.


Saturday 14 April, 3pm – 5pm: Neither Land nor Sea, Artists’ Talk

Saturday 9 June, (time tbc): Blackpool North Pier, Tour and Talk

Saturday 16 June, 3pm – 5pm: The Social History of Blackpool’s Piers, an Illustrated Talk by Tony Sharkey

All events are FREE and will take place at the Grundy apart from the Blackpool North Pier, Tour and Talk. Please contact the Grundy or see our website for further information about any of these events

Image: The end of the world (1955) from New Vedute (2015-2016)


My New Vedute series are on show at Galerie Heinzer Reszler Lausanne.

Please join us for the private view on Tuesday 15 May.

As part of their video art program, the Hiroshima City Museum of Contemporary Art are screening my two video pieces: Sight Sacralization: (Re)Framing Switzerland Part 1, Winter and Part 2, Summer.

The screening will be held from 1st May 2018 to 1st July 2018.

Read more here:

Image: Video still from ‘(Re)framing Switzerland Part 1 – Winter, 2016’

Public Performance, assembles photographs and video work from two of my series – The Last Moment and Sight Sacralization: (Re)framing Switzerland. Both works explore our society of instantaneity and the use of photography in relation to ideas of landscape identity and modern culture.

Alongside my work Zeitgeist will also be showing Jered Sprecher.


Opening May 5, 6-8pm

Reception June 2, 6-8pm