Photographs by Scottish artist Grace Lambert-Phillips, curated by French art historian Thierry Morel, director and curator of the Hermitage Museum Foundation in St. Petersburg, are on display in the Golden View restaurant by the Ponte Vecchio until January 12, 2025. The works reveal the subtle elegance of hidden perspectives, with the exhibition also including two paintings by Jack Vettriano shown for the first time. Cellini’s Perseus, the chariot horses below Ammannati’s Neptune, Palazzo Vecchio’s magnificence and similarly significant monuments are too often merely box-ticked masterpieces to “see” amidst a bustle of other tourists, backgrounds for photos taken in passing. Here, they are once again the powerful symbols of the history and identity of Florence that they were intended to be.
The photographs were taken during a very particular period, the pandemic, and are being shown at another challenging time for Florence as the city battles overtourism. Has your view of these works shifted in light of how Florence has changed since the time of their creation?
When I first arrived in Florence in September 2020, the level of tourism was a mere shadow of what it is today. During those late summer months, as lockdowns lifted, I witnessed a modest number of tourists, which felt manageable. While I could sense the burgeoning issue of overcrowding, my unfamiliarity with the city limited my perspective. Little did I know that over the ensuing years, the tourist population would grow steadily, transforming the very essence of this beautiful place into something that was described to me when I arrived by a local as a circus. Honestly, I’ve been shocked by the rapid changes and how the lives of the locals are affected. This experience has propelled my work into a statement about the consequences of overtourism. When I produced this work, I did not imagine that this would be its message. Now, I hope that these silent artworks emerge as a form of protest, conveying a serious message that resonates with those who encounter them. Art is one of the most profound ways we can engage with contentious issues, and I believe it’s vital to amplify this important voice. As we navigate the complexities of tourism and its impact, I hope that my work serves not just as a reflection of this moment but as a call to action—reminding us of what is beneath the surface and how culture is not a commodity or a tourist attraction but something to preserve, learn from and treasure.
What’s the significance of the works being shown at this location?
This location offers a powerful context, situated right in the heart of the tourist attractions, where the work will be seen by many travellers. Being displayed amidst these iconic sites allows the message to resonate more profoundly, I think. As viewers engage with the pieces on the walls, they can also look out the window and realize they are part of these places too. This creates a dynamic interaction where art transcends the traditional boundaries of viewer and image. In this way, the artwork becomes an integral part of the experience, hopefully inspiring a deeper connection between the work, the space, and the audience. I hope that this collaboration can help enrich the understanding and awareness of the issues of tourism and give a new respect for the artworks. This is my hope—that the art not only captures the attention of the viewers but also prompts reflection and dialogue about their role within this vibrant yet challenged environment.
What are some of your current and upcoming projects?
I’m currently working on a project that explores the Grand Tour of Italy, emphasizing the distinction between tourists and travellers. I pose the question, “What can we learn from the travellers of the past?” This journey takes me to beautiful locations throughout Tuscany, where I have the privilege of photographing sites that were significant stops on the original Grand Tour during the 18th century. Some of these images will be featured in a new exhibition at FUA (the American University of the Arts) in Florence, where I’ll collaborate with curating students to delve into these themes. Additionally, I plan to spend part of the winter in Venice, continuing my project Venice is a Sound. In this endeavour, I will photograph the city on film, capturing the essence of its rich culture within the celluloid.
What can you tell us about your plans for a private studio in Villa La Posta?
Villa La Posta was a very significant post point on the Grand Tour along the via Francigena, where travellers would stop for the night to enjoy a bed, some food and to change their horses. So, when I was given the opportunity to establish a studio there as part of a larger project focused on reopening the place for authentic hospitality to travellers, I immediately embraced it. Not only will I build a studio and darkroom there within La Limonaia, I will also offer art residencies and cultural/educational events and workshops. This enables me to truly embody the concept of living art. I believe this is an important message, and I’m proud to be part of this community in Monteriggioni, where the land is preserved and protected, and art is not merely something to be viewed on the walls; it becomes a way of life. This project aligns perfectly with the themes I explore in my work, providing me the opportunity not only to tell the stories of Italian culture, but also to become a part of my own narrative within this important movement to protect it.
Following the Disclosures exhibition will be Grand Tour Souvenirs – Notes from a Traveller at Florence University of the Arts (via Ricasoli 21), on display from November 14 to December 4.
