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.
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 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.
Produced in collaboration with the National Institute of Legal Medicine and Forensic Sciences in Portugal, between 2013 and 2017, this project is a reflexion on the tensions and contradictions inherent in the representation and imagination of death, in particular suicide, and the decisive but deeply paradoxical role that photography has played in its intelligibility and perception.
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.
In 2012, Edgar Martins was granted unparalleled access to The European Space Agency (ESA) and its private aerospace partners’ programs. Martins’ project reflects on the wider politics of space exploration, the ever-growing role of science and technology in our society and our relationship with the unknown, whilst opening up wider questions around epistemology, metaphysics and humanity’s conception of itself.
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.
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.