Produced in Libya and North Africa over five years, this project uses as a jumping-off point a part-documentary, part-speculative investigation into the death and disappearance of Martins’ close friend, photojournalist Anton Hammerl, during the 2011 Libyan war.

The project is guided by a simple premise: how does one tell a story when there is no witness, no testimony, no evidence, no subject? By retracing Anton’s steps, the places he visited and where he met his end, by engaging with myriad people involved or affected by the conflict, and seeking meaningful intersections between their journeys, Martins was able to step into his friend’s shoes, even if momentarily.

However, this project is about much more than honoring a slain friend. It portrays a complex story, warped by absences, that talks of the difficulty of documenting, witnessing, remembering and imagining war.

Bio: Edgar Martins’ work is represented in several high profile collections. He has exhibited at institutions such as the V&A, Saatchi Gallery, The New Art Gallery Walsall, Open Eye Gallery (UK); PS1 MoMA, (USA); MAST (Italy); Modern Art Centre, MAAT (Portugal), and others.
He has won numerous awards, such as the Jerwood Photography Awards (’03), the New York Photography Award (’08), the BES Photo Prize (’08), the BJP1854 Portrait of Humanity Award (’20), the Hangar Centre European Photography Award (’22), the Hariban Photography Prize (’23), the IPA Film Photographer of (’23), etc. He is the Sony World Photographer of the Year 2023. His latest book was shortlisted for the 2020 Paris Photo & Aperture Foundation PhotoBook Awards. He was selected to represent Macau (China) at the 54th Venice Biennale.