This dypthic was produced in the context of Edgar Martins’ Siloquies and Soliloquies on Death, Life and Other Interludes, a project developed over a period of three years with the Institute of Legal Medicine and Forensic Sciences, Portugal. It reflects on the gaps in understanding, information and representation and the deep rooted anxieties around ethics and aesthetics that inevitably arise when documentary photography and questions of visibility intersect.
In study that goes beyond mere documentation, this publication brings us a poignant commentary on the financial ruin and bankruptcy that struck the lives of many thousands of people, in the wake of the 2008 sub-prime crisis in the USA.
This seminal book is an excursus on the metastization of the urban frontier. Produced in South-East China, Portugal and South Africa the author uses the ‘black hole’ in the landscape as a way to rethink our relationship with the modern de-centred city.
This book surveys the largest exhibition to date of the project Siloquies and Soliloquies on Death, Life and Other Interludes, at the CIAJG, Portugal, forcing us to consider photography’s role in the intelligibility of death.
In 2014 Edgar Martins approached BMW with a simple idea: to stop the production lines in order to photograph Plant Munich. Although the project surveys on the surface the fabrication, tooling and assembly of the modern era automobile vehicle, it also represents a point of resistance: to the world of flux and flow that we live in, to a world haunted by mobility, transience and uncertainty.
This dypthic was produced in the context of the artist’s award winning project Siloquies and Soliloquies on Death, Life and Other Interludes, a project developed over a period of three years with the Institute of Legal Medicine and Forensic Sciences, Portugal, exploring the tension between concealment and revelation.
This project results from a collaboration with inmates, incarcerated in the West Midlands (UK), their families and local organisations and individuals. By giving a voice to his subjects, the author proposes to rethink and counter the sort of imagery normally associated with incarceration and confinement.
Shot between 2010 and 2011, this book is structured as a topographic survey of hydro-electricity generating plants. No more than half a dozen people run power stations which, in some cases, were intended to house up to 250 workers just a few decades ago. This project is, thus, not just about the generation of power of also of dreams and technological utopias.