KAUNAS PHOTO is the longest-running annual photo art festival in the Baltic States.
I will be participating in the 40th Anniversary edition of the annual Small is Beautiful exhibition, which will take place at Flowers Gallery, New York for the first time this year. The show challenges contemporary artists working in all media to produce works with a fixed economy of scale, each piece measuring no larger than 9 x 7 inches. On display will be over 140 works by an international roster of gallery artists and invited guests.
NOVEMBER 20, 2014 – JANUARY 10, 2015
OPENING RECEPTION THURSDAY NOVEMBER 20, 6-8PM
Prints from my Motherland series are included in the exhibition ‘Human Nature: 15 years of Art Collection Deutsche Börse’ (see installation shot above).
This year Deutsche Börse will have been collecting contemporary photography for fifteen years. For this reason we will show a big anniversary exhibition in our premises from 1 October. The exhibition “Human Nature. 15 years of Art Collection Deutsche Börse ” will present around 125 works by 24 artists of the collection.
The show will tour to the NRW-Forum in Düsseldorf end of January and thus be shown in a great public exhibition space as part of the Düsseldorf Photo Weekend and until April.
For more information about the collection, visit: https://www.facebook.com/ArtCollectionDeutscheBoerse
In addition to the permanent exhibition of the Art Collection Deutsche Börse, special events on the subject of photography are hosted regularly at the company’s headquarters, The Cube, in Eschborn, Germany.
Photo: Installation of ‘Eastbourne Pier, East Sussex, 2011’, Towner Gallery, September 2014
My Eastbourne Pier print, recently acquired by Towner Gallery, is part of their new group exhibition Land and Sea.
Land and Sea: A selection of new acquisitions and existing works from the permanent collection. The display will tie in with Twixt Two Worlds and will focus on works that use film and photography in their depiction of sea and landscapes.
This display will include the first showing of our new acquisition by Swiss artist Uriel Orlow, his installation work The Short and the Long of It (2010). We will also be showing our newest acquisition of five works by British artist Matthew Miller and Eastbourne Pier (2011) by Simon Roberts.
This group exhibition featuring a series of my works from Let This Be A Sign, is now touring. The first venue is John Hansard Gallery in Southampton.
Show Me The Money: The Image of Finance 1700 to the Present poses the question, what does money really stand for, and how can ‘the market’ and the world of high finance be made visible? The exhibition charts how the financial world has been imagined in art, illustration, photography and other visual media over the last three centuries in Britain and the United States, and asks how artists have tussled with the intangible nature of money, from the South Sea Bubble of the eighteenth century to the global financial crisis of 2008.
The exhibition features works ranging from satirical eighteenth-century prints by William Hogarth, to newly commissioned pieces by a range of contemporary artists in an array of media: paintings, prints, photographs and videos. Here on the south coast, the exhibition will be shown simultaneously across the John Hansard Gallery and Chawton House Library; the latter once owned by Jane Austen’s brother, himself implicated in a financial scandal of the 1810s.
It showcases many works created since the 2008 financial crash, including Molly Crabapple’s surrealist oil painting Debt and Her Debtors (2012-13), through to Goldin+Senneby’s installation Headless (2008), detailing the search for an offshore company that forms the basis for a ghost-written novel commissioned by the artists. There is a new version of Simon Roberts’ Credit Crunch Lexicon (2012), a wall-based text work that alphabetically lists words and phrases collated from political speeches, Bank of England papers, newspaper headlines and economic reports as a vehicle for political comment.
More information here.
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)
As part of Photo Shanghai, Flowers Gallery will be showing prints from Pierdom alongside work by Boomoon, Edward Burtynsky, Nadav Kander and Jason Larkin.
Stand C02
Photo Shanghai is the first international art fair dedicated to photography in China.
5-7 September 2014
Pierdom will be exhibited as part of this year’s BredaPhoto festival in the Netherlands, the theme of which is Songs from the Heart.
participating artists
Todd Hido, Hans Wilschut, Andre Bush, Gregory Halpern, Jan Rosseel, Ola Lanko, Bert Danckaert , Martijn van de Griendt, Koen Hauser, Karin Borghouts, Simon Roberts, Eelco Brand, An-Sofie Kesteleyn, Debby Huysmans, Wayne Lawrence, Wiesje Peels, Alexander Gronsky, Andrej Glusgold, Mariska van Zutven, Kris Vervaeke, Jakub Karwowski, Jos Jansen, Bryan Schutmaat, Joshua Lutz, Sven Fritz, Stephanie Roland, Tom Hunter.
curators
Reinout van den Bergh – [email protected]
Jan Schaerlackens – [email protected]
Geert van Eyck – [email protected]
To find out more, visit: http://www.bredaphoto.nl/
Songs from the Heart is all about New Romanticism. The photographers whose works are on display during BredaPhoto 2014 will deal with the following topics:
I. Romanticism as a historic and artistic movement
The romantic heritage is inherent in our way of thinking and watching. Are photographers, either in their choice of topics or artistic styles, indebted to their romantic heritage?
II. The New Romanticism
The manifestation of these romantic ideals changes constantly. But where does our fascination with, for instance, ‘the authentic’ or ‘the unique’ come from? Is it an act of escapism? A form of social resistance? Or is it maybe just a thoroughly human characteristic?
III. Real versus fake?
Why does the word ‘romantic’ have such a negative connotation? Is there a downside to our romantic inheritance? Does our striving for authenticity not simply result in greater conformism? Does our admiration of the natural world and its overwhelming power at the same time result in sentimentalism and escapism; when does our fascination for the past turn into uninspired kitsch?
My work is included in this summer group show at Print Sales, The Photographers’ Gallery, alongside prints by John Hinde, Nicholas Hughes, Mike Perry and Luke Stephenson.
More information here.
I will be exhibiting a selection of work from Let This Be A Sign, including the Credit Crunch Lexicon, in this group show opening at the Northern Gallery of Contemporary Art in June 2014.
Show Me The Money: The Image of Finance, 1700 to present asks what does ‘the market’ look like? What does money really stand for? How can the abstractions of high finance be made visible? The exhibition charts how the financial world has been imagined in art, illustration, photography and other visual media over the last three centuries in Britain and the United States. The project asks how artists have grappled with the increasingly intangible and self-referential nature of money and finance, from the South Sea Bubble of the eighteenth century to the global financial crisis of 2008. It features works ranging from satirical eighteenth-century prints by William Hogarth and James Gillray to newly commissioned works by artists Goldin+Senneby, Cornford & Cross, Immo Klink, Simon Roberts, and James O Jenkins, as well as the first UK exhibition of international artists such as Molly Crabapple. The exhibition includes an array of media: paintings, prints, photographs, videos, artefacts, and instruments of financial exchange both ‘real’ and imagined. Indeed the exhibition also charts the development of an array of financial visualisations, including stock tickers and charts, newspaper illustrations, bank adverts, and electronic trading systems.
Photograph: Brokers with hands on their faces, 2007 – 2011 (Digital collage) © Simon Roberts
Show Me The Money demonstrates that the visual culture of finance has not merely reflected prevailing attitudes to money and banking, but has been crucial in forging – and at times critiquing – the very idea of ‘the market’. The exhibition tours three distinct regions of the country, beginning at Northern Gallery for Contemporary Art, close to the HQ of Northern Rock, where in an English context the financial crisis of 2008 began. It is then shown across two sites simultaneously: John Hansard Gallery, part of Southampton University, and Chawton House Library in Hampshire, which was owned by Jane Austen’s brother, himself implicated in a financial scandal of the 1810s. In 2015 the show continues to the People’s History Museum in Manchester, a national museum that houses material history from the union and co-operative movements.
The exhibition is accompanied by a fully illustrated 164pp book, published by Manchester University Press and edited by Peter Knight, Nicky Marsh and Paul Crosthwaite. The publication provides a wider set of contexts – professional, intellectual, political, literary and artistic – that inform the exhibition. The authors examine the history and politics of representations of finance through five essays by academic experts and curators alongside five commissioned contributions by notable public commentators on finance and art. The writers include Andy Haldane, the Executive Director of Financial Stability at the Bank of England, who asks us “What do you think about when you think about a ‘market’?”
Initiated with Dr Peter Knight, Manchester University, Professor Nicky Marsh, Southampton University, Dr Paul Crosthwaite, Edinburgh University, and Dr Isabella Streffen, Manchester University with NGCA.
The website for the exhibition is now live. Find out more about the themes and content of the show by following…http://www.imageoffinance.com/
TOUR DATES
Chawton House Library in Hampshire, Friday 19th September until Saturday 22nd November 2014
John Hansard Gallery in Southampton, from Tuesday 7th October until Saturday 22nd November 2014
People’s History Museum in Manchester, from Saturday 11th July 2015 until Saturday 28th February 2016
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.
