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The Multiple eXposure Project

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The Multiple eXposure Project is a multimedia, multi/trans/inter-disciplinary artistic practice and research-based initiative that explores the many layers of image-making, participatory photography, visual ethnography, and performative encounter(s) between the image and the spectator; the subject and the viewer. As what the name of the project implies, this endeavor is profoundly interested in the notions of the “multiple” and the “exposure” both in their literal and symbolic sense.

Firstly, The Multiple eXposure Project seeks to examine the multiple potentials of image-making or photography (digital and analogue; still and moving) as a medium, a performance, and an instrument of social engagement and (ex)change, and the overlapping of it with other disciplines. As part of its exploration, this project involves a series of visual, photographic or lens-based workshops in collaboration with non-profit, grassroots volunteer groups. The concept of the multiple is also applied under the framework of collaborative work – of bring together multiple individuals with multiple philosophies into a plurality of shared experiences.

Secondly, The Multiple eXposure Project is equally drawn to the idea of “exposure” (subjection, experience, vulnerability, coverage, documentation, and so on) in the process of socially-engaged image-making that exposes what needs to be exposed; clarifies the obscure; and concerns itself with a gamut of critical questions and discursive issues of representation.

Through image-making, we aim to expose and get exposed.

Public Interrogation: Outside the White Cube (December 1-31, 2015)

Public Interrogation: Outside the White Cube
Organized by The Multiple eXposure Project
Location: Public Spaces, Metro Manila, Philippines
Date: December 1-31, 2015

December 1-2 (8pm-10pm): EDSA Avenue cor. Kamuning Rd. Quezon City
December 5 (7pm-9pm): Ayala-Paseo Pedestrian Underpass, Makati City
December 13 (6pm-7pm): Alabang-Montillano Footbridge, Muntinlupa

Click here to view the Catalogue:

Public Interrogation: Outside the White Cube is an alternative, traveling, curatorial project that features image-based works across different disciplines and media by emerging artists whose works discuss the notion of the “public” and its complexities.

What is public? What counts as public? The “public” is a multi-layered concept defined differently depending on how the term is used and framed. It is a notion devoid of singularity and is, grammatically speaking, a terrain of contradictions. As a noun and an adjective, the public constitutes the people, masses or community, and suggests anything that is staged, accessed, or seen out in the “open.” The public can also be used as a verb to describe something one does, as in make public or publicize, suggesting the movement or shift from the inside (private) to the outside (public). Paradoxically, however, the same term also points to the limits of such openness and movement. Given that it simultaneously refers to something “involving and provided by the government”, the public is always at risk of becoming merely an apparatus of the sovereign state and its institutions, thus making the flow of its production, distribution, and consumption partial and counterproductive.

Public Interrogation: Outside the White Cube seeks to re-frame the practice of curating and spectating images outside the exclusionary, institutional borders of the “white cube” or gallery space. Public spaces are used as an exhibition site to stimulate a mode of spectator experience that revolves around displacement of the passersby (public) from their “habitus” by interrupting the flow of pedestrian traffic. We alter a familiar public space and transform it into an unusual, dialogic site for image projection and exhibition, taking advantage of its accessibility and site-specificity in order to redefine the ways the spectators look at and engage with images. Adopting “guerilla urbanism” as a curatorial strategy, we make sense of the immediacy of the “public” and reflect upon its context, meanings, and intersections with representation, place, and discourse. In so doing, we intervene and reformat aspects of the urban landscapes and emphasize the “counter-spectacle” in art viewing and appreciation. This project also underlines the inherent ephemerality of an open-to-the-public display in relation to time and space. As a “traveling” exhibition which heavily depends on projection technology and public space as its “frame” or “canvas", this project celebrates the momentary nature of image-viewing, consumption, and mobility in the metropolis at a time of constant flux and transition.

List of Works and Artists:

Video Arts
Borders - Anne Murray (USA)
The Separation Loop - Leyla Rodriguez (Germany)
Gnomonicity - Amitesh Grover (India)
36&71 - Anthony Stephenson (USA)
Sully - Marbella Carlos (Canada)
You See Davis - Rembrandt Quiballo (Philippines, USA)
Untitled (Sleeping People in a Train) - Hannah Reber (Germany)
Into the labyrinth - Geordy Zodidat Alexis (France)
The Safest of Hands - Clint Sleeper (USA)
Hunt/Find - Dani Salvadori (UK)
Leaving My Skin - Ellen Wetmore (UK)
Presence of Absence - Matt Lee (India)
Untitled – Mohammad Namazi (UK, Iran)

Still Images / Photographs
Right Time Right Place - Robert Rutoed (Austria)
Peripheral Strangers - Julie Dawn Dennis (UK)
De Staat (The State) - Maarten Tromp (Netherlands)
Ruinophilia - Anna Garrett (UK)
Circling the Square - Arturo Soto (Mexico)
The Spectator, the Viewer, the Observer and the Perceiver – Francine LeClercq (USA)
Magic Rooms - Carlos Collado (Spain)
Date of Consumption - Lita Poliakova
Street Photography - John Robert Luna (Philippines)
Walls - Elena Efeoglou (Greece)
Fitting Room – Megan Mace (South Africa)
Street art you can take home (for free) - Lorenzo Bordonaro (Portugal)
Victim – Solomon Eko (Nigeria)

Performance Videos / Public Interventions
Balloon Performance - Louise Winter (UK)
Somarts Mural Dance - Johanna Poethig (USA)
Unpatentable Multitouch Aerobics - Liat Berdugo (USA)
Disclaimer at Manchester Art Gallery - Laura Gower (UK)
Sustaintability – Dani Lamorte and Veronica Bleaus (USA)

Animations / Digital
Job Interview - Dénes Ruzsa and Fruzsina Spitzer (Hungary)
In Between - Sofia Makridou, Theodora Prassa (Greece)
Decadence of Nature - Olga Guse (Russia)
AsianGirl N40°42'54.488" W73°59'30.313" - Victoria Elle, Rocky Li, and Jennifer Mehigan (USA)

Get Featured in our Blog!
We are currently expanding the content of our blog and we would like to feature multidisciplinary/multimedia artists, photographers, image-makers, visual artists, performers, and so on, their portfolio, artistic practice, and research interests. The feature section serves as a virtual, archival gallery and a platform for free promotion. This call is open to all artists – individuals or groups; amateur or professional – anywhere in the world.

If you think your works are relevant to The Multiple eXposure Project, send your artist statement, sample of your portfolio, photos, videos, press releases, and other related materials to

Moving Still: The Multiple eXposure Project Zine 2.0

The sophomore issue of The Multiple eXposure Project zine has been uploaded! You can read the e-zine at ISSUU or download the PDF version HERE.

New media and video artists included in the publication are as follows:

Jessica Buie / Liat Berdugo / Laura Hyunjhee Kim / Nicola Hands / Tony Radin Jacobs / (c) merry / Talia Link / Justin Zachary / Adrian Errico / Matteo Pasin / Jean-Michel Rolland / Manasak Khlongchainan / Boris Contarin / Hüseyin Çife / Suman Kabiraj / Patrick Moser / Francesca Fini / Aaron Oldenburg / Benjamin Grosser/ You Qi / Dénes Ruzsa / Fruzsina Spitzer / Fran et Jim / Amelia Johannes / Heidi C. Neubauer-Winterburn / Jess, Lau Ching Ma / Scott F. Hall / Eleni Manolaraki / Elise Frost Harrison Banfield Jack Rees / Daehwan Cho / Wu Siou Ming / Masako Ono / Bárbara Oettinger

Editor's Note:
By Sherwin Altarez Mapanoo

I n this sophomore issue of the Multiple eXposure Project zine,“Moving Still”, we feature a heterogeneous breed of new media and video artists whose experimental and provocative works emphasize the potency of “videos” or “moving images” in the exploration and expansion of self-representation in the discursive flow of transmission and mediation – from the screen to the spectator; and the perceptive to the conceptual.

Selected artists here make use of the “screen” as medium and performance space. By displaying, curating, and performing in front of the screen, self-image-formation is enacted while relying on playful encounter with unknown spectators in order to weave different webs of interpretation. In this regard, the screen operates as an intermediary in the artist’s performance that brings connections to identities, personal narratives, history, everyday politics, and imaginaries.

The symbiotic relationship between the screen and the subject cultivates the construction of an image or spectacle that is consumed – temporally and spatially - in a doubling of intermediation. They deflect and reflect a plethora of shifting, hybrid pretexts about ourselves within the digital ecology where the delineating lines between the public and the private; the human and the mechanical; and the material and the virtual boundaries become blurred.

Given their hyperreal structure, these video performances, visual interventions, and recorded choreographies trigger a mode of mediated encounter that heavily manipulates moments of reality – of space and time. Intimacy and presence are concomitantly altered as these pieces can be incessantly scrutinized by the gaze of many anonymous viewers floating in the digital currents, allowing us to re-locate the individual and re-think about the concept of selfhood more fluidly.

Self-as-Subject: The Multiple eXposure Project Zine 1.0

We are pleased to announce that the very first issue of the Multiple eXposure Project zine is now accessible online! You can read the e-zine at ISSUU or download the PDF version HERE. Feel free to share!

Below is the list of contributors (artists and writers) included in the publication:

J.D. Doria / Dr. Sayfan Giulia Borghini / Aldobranti / Olga Sidilkovskaya / Ana Rita Matias / Anne Paternotte / Rudi Rapf / Leigh Anthony Dehaney / Laura Knapp / Jennifer van Exel / Derya Edem / Arushee Agrawal / Utami Dewi Godjali / Çağlar Uzun / Mahmoud Khattab / Noel Villa / Dawn Woolley / Teresa Ascencao / Kalliope Amorphous / Katrina Stamatopoulos / Gaspard Noël / Florian Tenk / Petra Brnardic / Sana Ghobbeh / Alonso Tapia-Benitez / Libby Kay Hicks / Agent X / Rina Dweck / Yoko Haraoka / Claire Manning / Pietro Catarinella / Anne Beck / Gabriel Orlowski / Ralph Klewitz / Anthony Hall / Alessandro Martorelli / Robin Gerris / Carol Radsprecher / Veronica Hassell / Daniela Olejnikov / Jayson Carter / Nathaniel St. Amour / Jonathan Armistead / Piotr Boćkowski

Editor's Note:
By Sherwin Altarez Mapanoo

"Who are you?” “Who am I?” “Who do I think I am?” “What am I made of?” There is nothing simple about such inquiries as they pose a number of phenomenological and ontological issues.

To ask yourself or someone about self-definition is to deal with its vicissitudes and fluidities, oscillating between the ego and the alter ego; the naturalistic (Hume) and the metaphysical (Kant); and the reflexive perception of one’s body and the relational introspection with the “Other.” The self is, arguably and fundamentally, a complicated subject matter. It is an ever-evolving object, a corporeal being, an affective body, a precarious entity, a discursive phenomenon, and so forth.

Divided into three interrelated chapters, this zine features oeuvres by artists and writers from different localities around the world and, as what its theme implies, is an exploration of the “self” and its manifold permutations – its presence, identity, representation, liminality, and (dis)embodiment - in this day and age of digitality, hypermobility, and hyperreality.

In Chapter 1, The Self as I/Other, authors reflect on the dialectics between the ego and the alter ego and the multitude of ways the “self-as-subject” is defined by both internal and external contingencies, or philosophically speaking, by the binaries – “I” vs. “not-I.” Many of these selected pieces are visibly entangled with the act of self-mirroring, which is inherently reflective and performative: it involves the constitution of subjectivities based on visual imaginary reflected on the mirror that does not necessarily resemble the complex structures of the material body. What I highlight here is the notion of self-perception (internal) in relation to one’s experiences and the (external) world. As Anthony Giddens puts it, “A person's identity is not to be found in behaviour, nor - important though this is - in the reactions of others, but in the capacity to keep a particular narrative going. The individual's biography…cannot be wholly fictive. It must continually integrate events which occur in the external world, and sort them into the ongoing 'story' about the self.” (54).

In Chapter 2, The Fetishized Self, we see interconnected self-representations that examine the convergence of idiosyncratic fantasies with the phantasmagoria as an offshoot of the fetishized commodity. When I refer to the term, phantasmagoria, I emphasize the volatile strings of imaginations through which the public and the private dimension of identity becomes obscured, blurring the demarcating lines between reality and fantasy. This section functions as a provocation of the fetishization of self and the centrality of the individual as authority. Through role-playing, the self, as a fetish object imbued with power and discourse, becomes an agency displaying and interrogating the politics of gender, sexuality, identity, and bodily desire.

Finally, in Chapter 3, The Fragmented Self, the fragmentation of identity framed within the digital, virtual, or hyperreal context is explored. Featured works here represent the various modes the anonymity, simulation, multiplicity, and control in data superhighway allow the transformation of the self into fragmented, hybrid subjects. The concept of “self-fragmentation” also revolves around the nature of post-modernism: the absence of absolute truth and the presence of disembodied self.

Giddens, Anthony. Modernity and Self-Identity. Self and Society in the Late Modern Age. Cambridge: Polity, 1991.

Featured Artists
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Interview With Emanuela Franchini: The Photographer as Artist

Emanuela Franchini is a commercial photographer based in London. She concentrates on making playful self portraits in her personal work. Read on to learn how her work caught the attention of The Strokes and how viewers impart unintended meaning to her pictures.

How did you get started?

I remember my dad being very protective of his camera when I was very young. It made me jealous. I always thought, “as soon as I can, I want my own camera to play with”. Eventually I got one as a present when I was eight and started playing with it like crazy.

It was a film camera, of course. I'm thankful that I started with film because it gives you a different perspective—you focus more on framing and composition. You have only a limited number of exposures and have to get them right. With digital you shoot and shoot until you have the right light and composition. I'm still thinking film in my mind even when I use digital.

How has digital changed photography?
Digital has changed everything. We need things fast and immediately. News channels are constantly putting images on their website and photos from an iPhone work just fine for the web. This is changing the perception of photography in a good way. Everybody is becoming less afraid of photography. However, photographers are living in difficult times. Newspapers are firing staff photographers in favor of quick snaps from an iPhone.

Are you formally trained in photography or art?

No, I'm entirely self-taught.

Is there anything in your background that motivates or informs your work?

I have an urge to create. Some people go to the gym, but I go to my studio to let off steam. It may not turn out well, but I spend hours at a time figuring out what I can do with my camera and my lights. I take a lot of self portraits. It's an urge.

What kind of commercial work do you do?

I do a lot of work for charities, which requires a special understanding about the budget. My income doesn't come entirely from photography, unfortunately. I do web design as well. I'm a believer in starting local first and finding opportunities in my area. I stop in to new shops and ask if they need any work done. You can go to a local club in your area, have a drink and chat with the owner. You might be able to shoot the next band that plays there as a result.

Tell me about how your work was published on The Strokes website.

It was pure luck. The individual who was looking after The Strokes' image and promotion found the photo on my Flickr stream and asked to use it for promotional use on their website. I said yes, of course. At the time, Flickr gave me incredible exposure. People were looking at Flickr in a more serious way than now. There were less users and better photos. However, Flickr is no longer what it used to be.

What advice would you give to artists using social media?

It takes a lot of time and dedication. In the past I would have said be on as many platforms as possible. Now, I suggest being on a couple and focus heavily on them. I see a lot of photographers trying to be everywhere, but the content is the same across the board. You will never have enough time to keep things moving on those streams. Pick two or three to focus on and post daily something.

How large do you print your work for display?

I like it when its really big on the wall. 30-40 inches. It depends if the exhibition is sponsored by the gallery and what kind of deal you have with the gallery. I don't like small. Its great to see how people engage with the picture and take it in at every angle.

How do you find content for your self portraits?

I think about a normal situation and add something that wouldn't normally be there. I want to see how difficult it can be to implement and bring it to life. The more challenging it is, the more excited I get. There are some unique challenges to self portraiture—when you're balancing a steak on your face you can't really see the camera!

How long have you been photographing professionally and how has your process changed?

Since 2007. I used to be very instinctive and didn't plan much in advance. I couldn't distinguish between the creative urge and analytical planning—creativity had nothing to do with making plans! Now, I'm more comfortable with having a creative urge and planning it on paper, especially lighting setups. Its a mater of learning how to take control of your creative urge.

Why do use yourself as the subject?

Its about the challenge of balancing the role of the subject and the photographer. You can't be in two places at once and I can't use a remote because the camera struggles to focus. There are a lot of self portraits I haven't taken yet because they might not be possible!

I like taking portraits of other people, but I'm not sure I could ask them to put spaghetti on their face. I'd much rather do it myself. Its fun and gives you a sense of freedom to experiment.

How does photographing yourself affect the end product?

It affects the end product only if the viewer is told its a self portrait. Otherwise, it doesn't affect what they might perceive. I'm the one who is affected most. It gives me extra pleasure when I look at the picture because it was so damned difficult to make!

Can you explain the motivation for “On Your Face”?

I was doing a lot of commercial work at the time and was frustrated by its creative constraints. I wanted to do something that was challenging, striking, and meaningful. The most challenging situation for a photographer is not being able to see. I wanted to make a series of self portraits with something on my face to prevent me from seeing. I began considering food, something you normally put in your mouth. I thought it would be interesting to put it on my face instead.

Sometimes we stuff our faces without really thinking about what we're doing. It made me think about how we consume photography. We don't pay attention to it because there's so much out there. We're no longer able to understand what good photography is.

Are you addressing any female issues in your work?

Not really. It might appear that way because I'm a woman, but I never really talk about what I mean with a photo.

What other people think when they see my pictures intrigues me. Once, I exhibited a nude picture of myself holding a fish. It was interesting to hear the comments of those viewing the photo. Some people were finding it funny, some creative, some appalling because I was mixing religion with nudity, and other were outraged that I was naked!

We're not in control of others' perceptions. Everybody has an interpretation based on their own ideals, upbringing, and cultural background.

Tell me more about “Heterological Boundaries”.

“Heterological Boundaries” is an ongoing collaboration with Cristina Cocullo, another photographer. We take very different pictures. She takes a lot pictures in empty spaces where human presence is perceived but no humans are photographed. In my photos a human is there.

We wondered what would happen if we put our photos side by side. We printed images for an exhibition and paired them nearly randomly. When we showed them, viewers invented meanings for the pairings. There was no real connection on our part. Its amazing how the human mind can find a connection.

Are you an artist or a photographer?

Every photographer is an artist, regardless of what kind of photography they make or if they do it for a living. Photography is an art. I'm an artist in that sense, otherwise people wouldn't be interested in the work. You have to have art in your mind in your commercial work, even if you think it has no artistic meaning or artistic reason to exist.

How do you know when a series is finished?

You have to have a limit in some way. Otherwise, you'll take boring pictures just to add to the series. I limited “On Your Face” to 12 photos. I wanted to turn it into a calendar. If I hadn't set a number, I'd still be here trying to balance a bottle of wine on my face.

What would others say is your best piece?

It surprises me. No one notices when I take what I consider to be a good picture. But everyone loves the one that's no good. The bathtub with my feet out. People are fascinated by that picture because its funny and twisted. I'm always told the light and framing are amazing.

Where do you see yourself in 5 years?

I would like to do photography full time and start a non-profit that gives young, impoverished kids a chance to discover photography.

Is there anything you wish you had known when you first started?

Not really. Its good to learn as you go along. Every photographic situation is different. The event you shoot one year is not the same the next. You can't take anything for granted.

What advice do you have for budding artists?

Its tough out there, but don't give up. You have to do commercial work, but its going to give you a good foundation. Practice makes a good photographer. And after finding yourself in all sorts of situations, you'll be able to apply that knowledge to your artistic work.

To learn more about Emanuela Franchini, visit her official website at

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