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.
This dypthic was produced in the context of the artist’s latest project What Photography & Incarceration have in Common with an Empty Vase, a project which results from a collaboration with inmates, incarcerated in the West Midlands, their families and a myriad of other individuals and community groups in the region.
This series, by Edgar Martins, 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 beautifully printed collector’s edition comes with an 8×10″ C-print in a total edition of 50, signed and numbered by the artist.
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.
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.
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.