Reviews

Reviews of Metropolis

Wall Street Journal:
"Martin Roemers's colorful shots of street life in Mumbai bring to life the theme of humanity's increasing urbanization."
 

Jamie Wellford (Newsweek):
"Roemers is in the process of visually addressing the relationships of humanity to and
within inherently complex megacities, in which there is ever-changing
organic development evolving in both astonishing and horrendous ways. I
think Roemers begins to create tableaux of stage settings, each in its own
way a passion play in which life unfolds in myriad ways. There is a
harmony in the chaos of these settings. The inanimate becomes animate. The
large scope of the images still allows detail to congeal as part of a
pulsating whole. The pictures tell us that the world is in the round,
perceptible and felt in 360 degrees. These photographs begin to take us to
places outside the frame where lives continue and the metropolis slowly
rises and recedes, rises and recedes."

Reviews of The Eyes of War
 
Financial Times Magazine:

"Haunting images of people blinded in the second world war."

 

Reviews of Relics of the Cold War

Photo District News, New York:
Annual review of the best books of the year: "His images make areas of both East and West Germany look like manufacturing towns that have been abandoned as the industry supporting them fell apart or relocated."

Foto 8: 
"Relics become eloquent monuments."

Conscientious, Joerg Colberg:
"Relics of the Cold War feels like an archeological study."

Der Spiegel:
"Roemers found places where the Cold War is still alive."

Neue Zuercher Zeitung:
"The renowned photographer reveals where fears affect both sides and engender very similar forms of defence."

ARD TV Mittagsmagazin:
"Sinister."

NRC Handelsblad:
"A dilapidated military underworld full of potential film sets."

PhotoQ:
"Iconology of the Cold War."

PHOTO International:
"A new, subjective documentary style."

De Telegraaf:
"Roemers is able to comment on the human condition and human behavior without words."

Der Tagesanzeiger:
"An eerie gallery of 1960s mould, reek and rust."

Kasseler Fotoforum:
"A subtle monument in book form. The strikingly designed photos grab the eye and don’t let go."

Reviews of The Never-Ending War

International Herald Tribune:
"This is our collective history."

Frankfurter Allgemeine Zeitung:
"Look them in the eye and one senses what they have seen."

Trouw:
"Roemers succeeds in showing that for these people the war is never over."

PhotoQ:
"Old soldiers never die, they just fade away’. Roemers’ book makes this process graphically clear."

De Volkskrant:
"Every tiny stain, hair, wrinkle and irregularity can be seen, but it’s mainly the eyes that stay with you."

Eyemazing:
"The confrontation is unforgiving. The collection of portraits evokes the sensation of being cast into a room full of people we have inadvertently met in the dark and now someone has thrown on the lights."

Reviews of Kabul

NRC Handelsblad, H.J.A. Hofland:
"Roemers saw it. He has captured a strange, inhospitable country, its inhabitants full of suspicion toward the peacekeepers. There is no longer any sign of elation at the arrival of armed Western troops. This is an explosive atmosphere."

De Volkskrant:
"The Kabul Portraits take your breath away."


Reviews of Trabant. The Final Days of Production

The Wall Street Journal:
"A bitter sweet exhibition There is a surreal sadness in these photos, as the resolutely old-fashioned Trabant, in various stages of production, slides along in scene after scene."

Sueddeutsche Zeitung:
"Images of a bygone world."

Photoscala:
"A brilliant example of the power social-documentary photography still can have today."