The exhibition is curated by Marianne Kapfer, Berlin.
Bben Drauf – On Top: Four photographic perspectives with Bernd & Hilla Becher, Matthias Koch, Simon Roberts and Peter Hebeisen at Photobastei in Zurich.
Runs from 19 April 2018 to 03. June 2018.
“On top” stands for an elevated position as a working method and as a photographic perspective.The exhibition presents four such positions – all landscape shots from the point of view of an elevated viewpoint: icons of industrial photography by Bernd & Hilla Becher, pictures of the Atlantic Wall of her master student Matthias Koch, “European battlefields” by Swiss Peter Hebeisen and “Sight Sacralization: (Re) framing Switzerland” by renowned English photographer Simon Roberts. In addition, the artists use photography as a medium of documentation and reflection. They show places that are historical or meaningful.
The exhibition is curated by Marianne Kapfer, Berlin.
Photo: Detail from Brighton Beach, 2007
Opening in March 2018, The Great British Seaside: Photography from the 1960s to the present is a major new exhibition exploring Britain’s relationship with the seaside through the lenses of the nation’s best loved photographers, Martin Parr, Tony Ray-Jones, David Hurn and Simon Roberts.
Many of us in Britain look back with fondness on memories of paddles in the sea and picnics on the promenade. Yet the seaside can also be a place of faded glory and acute deprivation. These tensions have provided fertile ground for documentary photographers who have sought to capture the ambiguities and eccentricities that define a day at the British seaside.
Read an article in The British Journal of Photography about the show, Celebrating the seaside at the National Maritime Museum.
Discover the lives and careers of Martin Parr, Tony Ray-Jones, David Hurn, and Simon Roberts and hear in their own words what draws them to the seaside, Photographers at the seaside.
Buy the accompanying book here, The Great British Seaside: Photography from the 1960s to the Present. Published to accompany the 2018 National Maritime Museum exhibition The Great British Seaside: Photography from the 1960s to the Present, this book showcases over 100 photographs, including material from each of the photographers’ archival collections, newly commissioned works, and never-before-seen images.
Runs until 10th March 2018.
See installation photographs here: https://www.flowersgallery.com/exhibitions/view/simon-roberts-merrie-albion#works
For over a decade, Simon Roberts has photographed events and places across Britain that have drawn people together in public, reflecting on the nature of our shared histories and communal experiences.
Merrie Albion – Landscape Studies of a Small Island brings together iconic images and many previously unpublished photographs, recording social practices and customs linked to the British landscape, as well as some of the economic and political theatre that has helped define recent history.
The work in the exhibition ranges across various projects, both commissioned and independently produced over the last ten years, from single photographs made around the time of Roberts’s major photographic project We English, to his subsequent work as the official artist of the General Election of 2010, and his series National Property: The Picturesque Imperfect.
While Roberts’s interests have often gravitated towards evolving patterns of leisure, and the complex relationship between history, place and culture, he has also photographed events that have a more immediate, topical significance in Britain’s recent past, and which collectively form a detached visual chronicle of the times in which we live.
In works such as Broadstairs Dickens Festival, Isle of Thanet, the landscape resembles a stage set for the costumed characters performing on the beach. Other examples of collective gatherings range from religious festivals, such as Eid al-Fitr Celebrations, Jamia Mosque, Bristol; or social and political events represented in After the Riots, London Road, Croydon, and the recent photograph Grenfell Tower, North Kensington, London.
Creating a view of contemporary society that is far from straightforward, Roberts critically conflates the traditional genre of landscape with social documentary, layering ideas of national character through relationships to both place and particular moments in time.
Of his work David Chandler, Professor of Photography at University of Plymouth, has said: “Roberts’s work presents the viewer with complex relationships between people and places and incongruous juxtapositions of history and contemporary culture that create gentle ironies and underlying tensions across the images. Played out through particular local and regional contexts, it is these tensions that ultimately deny any consistency of mood and resist the coherent, and possibly seductive sense of binding national characteristics.”
You can download the press release here.
Flowers Gallery is pleased to present the 35th edition of the annual Small is Beautiful exhibition, which will take place at the Cork Street gallery. Small is Beautiful was first established at Flowers Gallery in 1974, inviting selected contemporary artists working in any media to present works with a fixed economy of scale, each piece measuring no more than 7 x 9 inches.
On display and Available Online will be works by more than 100 artists, offering a rare opportunity to purchase smaller pieces by internationally recognised names and discover new talents working across a range of media.
The works from Small is Beautiful are now available to purchase from Flowers Gallery’s online store: www.flowersgallery.com/shop.
The Coliseum is the most visited monument in the world but also a place that has undergone many transformations until getting to be almost a pop icon. Starting from March 8, 2017 a major exhibition will reveal its hidden history after the fall of Rome, from medieval fortresses to slaughterhouses. Enriched by the unpublished results of recent excavations and restoration works, the “Coliseum. An icon” exhibition goes beyond the narrative of the Caesars to retrace the site’s long life over the centuries, from its little-known commercial, residential and religious purposes in the Middle Ages to the present day. More than one hundred works will be on display, including ancient artifacts, drawings, paintings, scale models, photographs and a rich anthology of films.
Six chronologically arranged sections will explain the monument’s historical and cultural impact on different fields: from painting to restoration projects, from architecture to urban planning, from entertainment to literature, sociology and politics. In the course of its history, the Coliseum has been the protagonist of many pepla movies and Italian neorealist films; even contemporary art depicts the Flavian Amphitheatre as the emblem of the Eternal City through an endless number of paintings, installations, performances, videos and photographs while Roman Pop Art elevated it to an iconic role.
My new monograph, Merrie Albion, will be officially unveiled at this year’s Paris Photo Fair.
Flowers Gallery will be displaying a special edition portfolio of the work on their booth, Stand A2 and I will be doing a book signing with Dewi Lewis Publishing on Friday 10 November at 4pm on Stand H5.
Paris Photo takes place from November 9th to November 12th, 2017.
The touring exhibition ‘Unfamiliar Familiarities’ moves to the Musée de l’Elysée in Lausanne this month. It includes photographs from my series, Sight Sacralization: (Re)framing Switzerland.
Switzerland’s image has been significantly shaped by photographs dedicated to tourism. With spectacular mountain panoramas, rural idylls or portraits of local people the country could be successfully marketed, and these photographs also made an important contribution towards national identity. Another consequence, however, was that the respective pictorial repertoire became inflated and stereotyped.
Switzerland Tourism has chosen an unusual project to mark its 100th anniversary in 2017 with the aim of exploring the potential of photography anew. The Swiss Foundation for Photography (Winterthur) and the Musée de l’Elysée (Lausanne) invited five internationally renowned photographers to scrutinise Switzerland in their capacity as independent, subjective and sensitive observers – unrestricted by any advertising commission.
What Alinka Echeverría (Mexico/UK), Shane Lavalette (USA), Eva Leitolf (Germany), Simon Roberts (UK) and Zhang Xiao (China) discovered on their travels around the country or along its borders is both inspiring and revealing. Their exciting, poetic or mysterious-enigmatic images invite viewers to see the familiar with the eyes of an outsider.
An initiative of the Swiss Foundation for Photography, co-produced by the Musée de l’Elysée and with the support of Switzerland Tourism.
A boxed set of books co-published by the Swiss Foundation for Photography, the Musée de l’Elysée and Lars Müller Publishers will accompany the exhibition.
Preview: Tuesday, October 24 at 6pm
Tatyana Franck, director of the Musée de l’Elysée
Peter Pfrunder, director of the Swiss Foundation for Photography
Lars Willumeit, independent curator
Press Release available HERE.
An exhibition of work by Fiona Struengmann, Giacomo Bonfante, Mirko Aretini and Simon Roberts.
Galleria Ramo is pleased to participate as a commercial ‘project space’ in Lugano during this year’s Bi Biennale dell’immagine with a collective of local and international artists spanning from photography to video art.
In conjunction to the theme of the biennale, Città Divise / Città Plurali, Galleria Ramo presents a subplot, il nostalgico e il nuovo, exploring the nostalgia of the old cities and the continual development of new urban environment. Acting as storytellers like the ‘new topographic’ photographers of the 70’s, the emerging artists exhibited capture a nostalgic moment from a recent or further-a-foot past and contextualise it with an intervention from the present day. Creating works of art that generate a new form of visual vocabulary and grammar that differentiates itself from Susan Sontag’s or Erroll Morris’ feteshistic understanding of images as objects or things-in-themselves. Therefore creating a contemporary lexicon all for themselves.
Special thanks to MC2 Gallery, Biennale dell’Immagine di Chiasso and Artelier.
Rome Commission – “Gradually fading away” Piazza di S. Pietro, 1954 (2016)
Image: Detail of ‘South Downs Way, East Sussex, 2007’ from the series, We English
British Landscape and the Imagination: 1970s to Now
I have several pieces included in this group show, an Arts Council Collection National Partner Exhibition running from 30 SEP – 21 JAN 2018.
This major survey exhibition focuses on artists who have shaped our understanding of the British landscape and its relationship to identity, place and time. Exploring how artists interpret urban and rural landscape through the lens of their own cultural, political or spiritual ideologies, the exhibition reveals the inherent tensions between landscape represented as a transcendental or spiritual place, and one rooted in social and political histories.
Though primarily photography, A Green and Pleasant Land includes film, painting and sculpture by over 50 artists, illustrating the various concerns and approaches to landscape pursued by artists from the 1970s to now.
Artists included in the exhibition: Keith Arnatt, Gerry Badger, Craig Barker, John Blakemore, Henry Bond and Liam Gillick, Paul Caponigro, Thomas Joshua Cooper, John Davies, Susan Derges, Mark Edwards, Anna Fox, Melanie Friend, Hamish Fulton, Fay Godwin, Andy Goldsworthy, Paul Graham, Mishka Henner, Paul Hill, Robert Judges, Angela Kelly, Chris Killip, John Kippin, Karen Knorr, Ian Macdonald, Ron McCormick, Mary McIntyre, Peter Mitchell, Raymond Moore, John Myers, Martin Parr, Mike Perry, Ingrid Pollard, Mark Power, Paul Reas, Emily Richardson, Ben Rivers, Simon Roberts, Paul Seawright, Andy Sewell, Theo Simpson, Graham Smith, Jem Southam, Jo Spence, John Stezaker, Paddy Summerfield, The Caravan Gallery, Chris Wainwright, Patrick Ward, Clare Woods and Donovan Wylie.