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 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.
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.
Produced almost entirely within a 3km radius of the author’s home, and inspired by Salman Rushdie’s critique of the film The Wizard of Oz, The Diminishing Present is a visual contemplation on the concept of home and what it means to belong somewhere.
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.
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.
This publication is produced within the context of Edgar Martins’ retrospective exhibition at the Centre Culturel Calouste Gulbenkian in Paris (Oct-Dec 2010) and brings together images from series created between 2005-2010, making possible a transverse appraisal of his photographic production, its unique characteristics, and conceptual framework.