Abstract
Edgar Martins’s photographs do not imply hostility. They are dripping with it. A chair dangles atop the corner of an open door. A ceiling has been destroyed. And in a set of two prints, entitled Cannibalism and Cannibalism II, blocks of foam and concrete have been inexplicably stacked on top of each other, anticipating an inevitable collapse. These staged acts of destruction generate significant unrest for the viewer, who has been enveloped in a landscape of manufactured tensions. But ‘This is not a House’ is also grounded in some very real tensions beyond the gallery walls.
How to Cite
Gilbride, M., (2013) “‘Edgar Martins: This is not a House’, The Wapping Project Bankside, London, May 9 – June 30, 2012”, Opticon1826 15, Art. 10. doi: https://doi.org/10.5334/opt.bh
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