Martin Parr is one of the greatest living photographers, not just because he invented his own language, but also because that language is necessary and militant whilst also highly entertaining. Parr has brought some typically British attitudes into photography – a witty, yet caustic and complicit approach to socio-anthropological portraiture (which has made the fortune of many British pop groups, from the Kinks to Blur) and semantic terrorism, an ontological attack putting the spotlight on the world camouflaged by a shrewd tagline (which made the fortune and the misunderstanding of Oscar Wilde amongst many others). Martin Parr found himself at the right time – with leisure time invented, democratised and imposed as a duty of working to middle class consumers – and discovered the right places for himself: places of consumption and entertainment in the widespread society of wellbeing following the post-War boom. He eschewed the classic doleful photo subjects (war zones, mental hospitals, African villages etc.), seeking out the realism of his own age on the beaches, in theme parks, in the (non) places of mass tourism where he wasn’t interested in the tourist attractions but focused on the crowds. In the wake of American pioneers such as William Egglestone who vindicated non-noble subjects, Martin Parr joined the ranks of other European pioneers such as Luigi Ghirri, in wanting to demystify the aura around photographic images, and strip them of their pretensions to being pure visions, the first of their kind. Not surprisingly, one of the most of iconic photos in the show is Kleine Scheidegg, taken in 1994, in which the hierarchy between actual reality and representation is turned on its head. In a late-capitalist society, observing the reality of things meant constantly coming up against reproductions and other images. Parr and Ghirri were among the first to grasp the need to incorporate them to create images of alienated and alienating images transmitting a socio-anthropological message rather than providing detached aesthetic pleasure.