What Photography & Incarceration have in Common with an Empty Vase

Exposición / Ffotogallery / Turner House, Plymouth Road, CF64 3DH / Cardiff, Reino Unido
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Cuándo:
04 mar de 2022 - 09 abr de 2022

Inauguración:
04 mar de 2022 / 18:00

Organizada por:
Ffotogallery

Artistas participantes:
Edgar Martins

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Etiquetas
Fotografía  Fotografía en Cardiff 

       

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Descripción de la Exposición

What Photography & Incarceration have in Common with an Empty Vase is a multifaceted body of work developed from a collaboration with Grain Projects and HM Prison Birmingham (the largest, category B prison in the Midlands, UK), its inmates, their families as well as a myriad of other local organisations and individuals. Using the social context of incarceration as a starting point, Martins explores the philosophical concept of absence, and addresses a broader consideration of the status of the photograph when questions of visibility, ethics, aesthetics and documentation intersect. By productively articulating image and text, new and historical photography, evidence and fiction, Martins’ work proposes to scrutinise how one deals with the absence of a loved one, brought on by enforced separation. From an ontological perspective it seeks answers to the following questions: how does one represent a subject that eludes visualization, that is absent or hidden from view? How can documentary photography, in an era of fake news, best acknowledge the imaginative and fictional dimension of our relation to photographs? By giving a voice to inmates and their families and addressing prison as a set of social relations rather than a mere physical space, Martins’ work proposes to rethink and counter the sort of imagery normally associated with incarceration. The project thus wilfully circumvents images whose sole purpose, Martins argues, is to confirm the already held opinions within dominant ideology about crime & punishment: violence, drugs, criminality, race – an approach that only serves to reinforce the act of photographing and photography itself as apotropaic devices. This project marks a significant transition in Martins’ creative trajectory, signalling a growing inclination towards a broader, more hybrid and interdisciplinary perspective of images.

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