Evocations of impermanence, from Istanbul to Tokyo and Jaipur
Brazilian photographer Eduardo Marco (born 1970) produces highly chromatic cinematic scenes of urban landscapes and rituals encountered throughout his travels across the globe. Eduardo Marco: Óxido brings together six of Marco’s photographic projects, made between 2012 and 2017 in Istanbul, Cairo, Delhi, Tokyo, Jaipur and throughout Brazil. From the desolate winter images of Istanbul to the urban voids and human traces of Cairo, portraits of men in Delhi, the bones and skin of dead cows in Brazil, the sumo wrestlers of Tokyo and superimposed paintings on the walls of Jaipur, Marco’s vision of existence is consistent, vivid and biting, and always concerned to express themes of transience and mortality. Perhaps the photographer's ultimate talent is, in the words of this book’s prologue writer Ray Loriga, “finding the trace of time in his photographs. The stubborn permanence of that which was and still is, like the rancor of memory.”
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FORMAT: Hbk, 8.25 x 11 in. / 320 pgs / 156 color. LIST PRICE: U.S. $40.00 LIST PRICE: CANADA $54.5 ISBN: 9788418428371 PUBLISHER: TURNER AVAILABLE: 11/30/2021 DISTRIBUTION: D.A.P. RETAILER DISC: FLAT40 PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA AFR ME
Evocations of impermanence, from Istanbul to Tokyo and Jaipur
Brazilian photographer Eduardo Marco (born 1970) produces highly chromatic cinematic scenes of urban landscapes and rituals encountered throughout his travels across the globe. Eduardo Marco: Óxido brings together six of Marco’s photographic projects, made between 2012 and 2017 in Istanbul, Cairo, Delhi, Tokyo, Jaipur and throughout Brazil.
From the desolate winter images of Istanbul to the urban voids and human traces of Cairo, portraits of men in Delhi, the bones and skin of dead cows in Brazil, the sumo wrestlers of Tokyo and superimposed paintings on the walls of Jaipur, Marco’s vision of existence is consistent, vivid and biting, and always concerned to express themes of transience and mortality. Perhaps the photographer's ultimate talent is, in the words of this book’s prologue writer Ray Loriga, “finding the trace of time in his photographs. The stubborn permanence of that which was and still is, like the rancor of memory.”
