KAUNAS PHOTO is the longest-running annual photo art festival in the Baltic States.
I have been selected by Stephen Doherty to participate in the ING Discerning Eye Exhibition this November at the Mall Galleries, London.
The Discerning Eye annual exhibition is a show of small works independently selected by six prominent figures from different areas of the art world: two artists, two collectors and two critics. Work is selected from open submission and from artists invited by the individual selectors. Each selector’s section is hung separately giving the impression of six small exhibitions within the whole.
Stephen Doherty is the Director of Visitor Communications for Somerset House in London where he has mounted a variety of free exhibitions. For nearly 20 years he worked for the V&A, where he managed travelling exhibitions and curated fashion performances in the Museum’s galleries.
The 2015 ING Discerning Eye Exhibition will be held at the Mall Galleries, The Mall, London SW1, and will be open to the public daily from Thursday 12 November until Sunday 22 November 2015. Entrance will be free and all works will be for sale.
I will be showing six pieces from my New Vedute series.
To coincide with the upcoming General Election, Photofusion are pleased to present The Election Project by Simon Roberts.
In 2010, Roberts was selected as the official British Election Artist, an appointment made by the House of Commons and commissioned by the Speaker’s Advisory Committee on Works of Art, to create an historic record of the UK General Election. Simon was the first photographic artist to be chosen.
Roberts’ exhibition at Photofusion will feature a selection of the large-format colour tableaux photographs from the final 25 images that form the project in its entirety, each having represented a day spent on the campaign (plus a final image capturing an extra day focused on the coalition talks).
As an antithetic yet complementary accompaniment to the work, Roberts also encouraged public participation in the project. He invited people to visually express their opinions on the campaign by uploading their own photographs to a special website created for the purpose (www.theelectionproject.co.uk).
A selection of the 1,696 images submitted will be presented on a monitor within the gallery and Photofusion will set up a live twitter feed for the public to add their 2015 election photographs under the hashtag #theelectionproject.
Simon will be doing an in-conversation at the gallery with Paul Halliday on Tuesday 12 May, 19.00
Download a press release here
Image: ‘Penri James, Plaid Cymru, Aberwyswyth, 24th April 2010’ from The Election Project by Simon Roberts/ courtesy of Parliamentary Art Collection
Photofusion is grateful to the Parliamentary Art Collection who kindly loaned the works for exhibition.
Image: ‘Walkabout For Our Musketeers, Lausanne, 2014’ pigment print, 50 x 60 cm
Galerie Heinzer Reszler will be exhibiting prints from my series, The Last Moment.
Prints from the series will also be available to view in their booth at Art Geneve from 29/01 – 01/02/2015. Details here: http://artgeneve.ch/en
We English will be on show at Kaunas Photo Festival as part of the Generation ’74 exhibition series.
11th KAUNAS PHOTO edition pleased release of prominent European photographers, who celebrate the 40 year achievements and presents the exhibition series “Generation 1974” and a photo book of the same name, which both photographers and compilers are from the same generation. In the exhibition participating 11 authors: Borut Peterlin (Slovenia), Nick Hannes (Belgium), Simon Roberts (UK), Gintaras Česonis (Lithuania), Mindaugas Kavaliauskas (Lithuania), Kirill Golovchenko (Ukraine/Germany), Vitus Saloshanka (Belarus-Germany), Tomas Pospech (Czech Republic), Przemyslaw Pokrycki (Poland), Pekka Niittyvirta (Finland), Davide Monteleone (Italy/France)
KAUNAS PHOTO is the longest-running annual photo art festival in the Baltic States.
Photograph: Pierdom print exhibited at Flowers Gallery, September 2013
To coincide with the 200th anniversary of the construction of Ryde Pier (the first British pleasure pier), I will be exhibiting a series of framed photographic prints between July – September 2014 in venues around the coastline of Britain, creating a simultaneous national exhibition. Each institution will be exhibiting prints from the series, including their local pier.
Venues confirmed so far are:
Aberystwyth Arts Centre
Brighton Museum & Art Gallery
Burgh Hall, Dunoon
Grundy Art Gallery, Blackpool
Kirkleatham Museum, Redcar
Quay Arts, Isle of Wight
Southampton City Art Gallery
Teign Heritage Centre, Teignmouth
The Conservatoire Blackheath, London
The Photographers Gallery, London
Towner Gallery, Eastbourne
Turner Contemporary, Margate
Dates for each venue will be released shortly.
The aim of this extended tour is to generate a national conversation to highlight the historical significance of these architectural structures, enforcing the idea of Britain’s pleasure piers as cultural landmarks, tracing history and national identity. There will be an active participatory project running alongside the exhibitions where individuals will be encouraged to share their ‘pier stories’ and photographs.
For more information, please download a pdf here.
The tour is being organised in collaboration with Flowers Gallery and supported by Arts Council England.
This survey exhibition at the Multimedia Art Museum in Moscow presents the work of British photographer Simon Roberts (b. 1974, UK) since 2005. After completing a substantial project in Russia, entitled Motherland, Roberts brought his attention closer to home.
With renewed interest in the relationship of individuals and groups to the landscape, Roberts focused on social practices, customs, cultural landmarks, economic and political scenarios that define his ‘small island’ as uniquely British. With echoes of ‘history painting’, these photographs point to contemporary issues specific to Britain, but equally engage with universal ideas of the human relationship to landscape, of identity and belonging.
Landscape Studies of a Small Island is presented as part of the UK Russia Year of Culture in 2014.
The exhibition is curated by Karen McQuaid from The Photographers’ Gallery, London.
More information here: http://www.mamm-mdf.ru/en/exhibitions/landscape-studies-of-a-small-island/
More installation shots from the show can be viewed here.
An essay written by Martin Caiger-Smith for the exhibition catalogue can be downloaded here.
I will be exhibiting work at two upcoming art fairs:
MC2 Gallery at ARTEFIERA Bologna
Where: Bologna Exhibition Center, Bologna, Italy
When: January 24 – 27, 2014
MC2 will be exhibiting prints from We English, Pierdom and XXX Olympiad. They can be found at: Hall 26, Stand 5
More information: http://www.artefiera.bolognafiere.it/en/home/776.html
Galerie Heinzer Reszler at artgenève
Where: Palexpo SA, Genève, Switzerland
When: January 30 – February 2, 2014
Heinzer Reszler will be showing prints from The Social: Landscapes of Leisure.
More information: http://artgeneve.ch/en/
The respected Collector Daily, reviews Pierdom exhibition at Klompching.
The exhibition runs until 21st December 2013
JTF (just the facts): A total of 9 large scale color photographs, framed in white and unmatted, and hung against white walls in the single room gallery space. All of the works are c-prints, made between 2010 and 2013. The prints are each available in two sizes: 20×24 (in editions of 7) and 48×60 (in editions of 4); there are 3 large prints and 6 small prints on display. A monograph of this body of work was recently published by Dewi Lewis (here).
Comments/Context: Simon Roberts’ recent series Pierdom is a terrific example of a photographic project that functions best when seen together as a group, either in book form or as a gallery show. While each of Roberts’ well crafted images of English seaside piers can of course stand alone, the ideas that form the foundation of the project come through more clearly when the images can resonate with each other.
My first reaction to Roberts’ effort to document each of the remaining 58 “pleasure piers” in England was that it had more than a passing conceptual kinship with the work of Bernd and Hilla Becher, even through their visual styles aren’t remotely alike. Both have applied a patient, methodical approach to capturing vanishing forms of vernacular architecture, with the goal of preserving their details before they disappear completely. Roberts’ images are a taxonomy of Victorian decorations and construction methods: sturdy pilings, arched canopies and pavilions, elegant ironwork light posts, and long boardwalks dotted with booths and carnival rides. Seen side by side, the photographs provide a comprehensive picture of these variations, and of the many modern additions and entertainments that have transformed some of the piers in recent years.
What also comes through when seen in a group is the compositional innovation Roberts’ has applied to this subject. The off season piers are captured from nearly every possible angle, from straight down the boardwalk and up underneath the pilings, to down from an elevated vantage point somewhere nearby and stepped way back to see the piers in the context of the surrounding cities and land forms. There are close ups and long views, sweeping asymmetrical vistas taken from the beach, and images that revel in the atmospheric weather (fog, greyness, snow and even the occasional glory of sunlight that pokes through). The photographs find balance between land and seascapes, interrupted by the long fingers of man stretching out from the shoreline.
What resonates most strongly in these works is a sense of faded romance, of comfortable nostalgia for the quirkiness and fun that these piers represent. Donkey rides, trampolines, and the Crazy House roller coaster point to the easy going escapist joy to be found here, and the continued presence of hulking iron carcasses and algae covered concrete foundations is a testament to how ingrained in the collective consciousness these landmarks have become – better to let them rot and decay in the shallow water (and use them for an impromptu wine party) than to tear them down and forget their warm memories entirely.
All in, this is a deftly self-contained project, with a deceptively rich and sophisticated set of underlying constructs. Everyone loves a carnival, and these pictures record for posterity the nuances of a quintessentially English variant.
Collector’s POV: The prints in this show are priced in rising editions, based on size. The 20×24 prints range between $2400 and $8000, while the 48×60 prints range between $4800 and $12800. Roberts’ work has not yet reached the secondary markets with any regularity, so gallery retail likely remains the best option for those collectors interested in following up.