Situated on the harbour in the Stadsgårdskajen district of Stockholm is the privately-owned and commercially-run photography centre Fotografiska. A self-styled museum housed in an impressive and beautifully-renovated former customs house, built in 1906 in the Art Nouveau style, Fotografiska opened in 2010, and has since exhibited the work of renowned photographers such as Annie Leibovitz, Joel-Peter Witkin, Anders Petersen, Sarah Moon and Christer Strömholm, to name but a few. Two of the most recent solo exhibitions were of the photojournalist Paul Hansen and the fashion and art photographer Viviane Sassen. Such is the success of Fotografiska that the museum is now set to open two new galleries, with others planned for the future. New York will be first, then London – and the plans for London would make the world’s largest photography gallery.
Merrie Albion: Landscape Studies of a Small Island is a concise compendium of Britain over the past few years and is an excellent visual survey of the run-up to Brexit. The photographs examine rich and complex variations of Britain that are now even more poignant after last year’s vote. Images of election campaigning in clean and tidy suburbia, protests, the aftermath of riots in London, diamond jubilee celebrations, rock concerts, a family enjoying Brighton beach, computer screens of the trading floor of Lloyds – the list goes on. Roberts has managed to capture all the major events in juxtaposition with minor situations that are large with meaning, from the dead of the Iraq war being saluted by Army veterans through Wootton Bassett to an depiction of impoverished mothers and children at a youth club in Blackburn. Contained within each photograph are mini dramas, cheap-looking high streets with pound shops set against Victorian architecture. Roberts shows a Britain at odds with itself. Rather than a harmonious society, we sense fragmentation and awkwardness and a yearning for a glorious past that never existed.
We are in Arles, where in July 2016 he showed Mortuary, one of his signature sculptural installations, made up of heavily manipulated, elongated photographic forms. He had been selected for the Rencontres photofestival’s Discovery Award, though in truth this cat had been long out of the bag – Yokota exhibited in Arles in 2015, showing his almost imperceptible inky-black prints from his Inversion series as part of Another Language: 8 Japanese Photographers, curated by Simon Baker of Tate Modern. And in the preceding half decade, his intriguing, visually arresting performances, experiments, installations, books, soundscapes and collaborations have blazed a trail from Tokyo to wider international acclaim, taking photography on a journey to the extreme. In this he is a revolutionary, with neither pretension nor timid creativity. The sheer energy with which he produces work is extraordinary, verging on obsessional and driven by a desire to constantly record, destroy and then recreate. Anxiety is the fuel. “In my mind, I have an image of burning energy in continual production,” he says.
The chief picture editor of Libération between 1981 and 1986, Christian Caujoulle left to co-found Agence Vu’ and, a decade later, Galerie Vu’. He has curated and edited countless photofestivals, exhibitions, and books, and is associate professor at the ENS Louis Lumière school
The camera is like a divining rod and I have lived my life letting instinct show me what I am interested in, says Joel Meyerowitz, who quit his job in advertising in 1962, after seeing Robert Frank at work. A native New Yorker, he became known for his early colour work on the city streets
My advice to younger photographers is not to be a photographer but to be a human says Anders Petersen, the Swedish image-maker behind the celebrated photobook Café Lehmitz
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