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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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Stan’s Cafe: Archive, Collaboration and Other Issues

by Sherwin Altarez Mapanoo


When I found out that I’d be taking part in a creative placement during my term in Warwick, I wasn’t sure which company I would choose from a long list of options that was given to us by Natasha Davis. All I wanted was something that would involve some sort of design, writing, or research. I was assigned to Stan’s Cafe, a theatre company based in Birmingham, England. Although it’s not my first option, I was still elated given the company’s international reputation. Prior to my placement, I’ve already encountered Stan’s Cafe in the book, Guerilla Guide to Performance Art. Their art installation/performance hybrid, Of All The People In The World, also known as the “Rice Show,” is also quite popular and often mentioned in books on experimental theatre, site-specificity, and theatre and globalization.

Of All The People In All The World

Since 1991, Stan’s Cafe has been devising, staging, and touring experimental theatrical and paratheatrical works, not only from its base in Birmingham, but in different parts of the world. At present, the company’s office is located in AE Harris, a metal works factory turned into a performance and rehearsal space, in the Jewellery Quarter. Audience reception to the venue, first used for their production, Of All The People In All The World, has convinced the company to remain. In 2010, it has secured a Grants For The Arts Lottery Award to stay in AE Harris, and since then, the warehouse venue has played host to a number of rehearsals, workshops and performances by Stan’s Café and other theatre companies as well.

On a personal note, the venue was remarkable. When I visited their office for the first time, Charlotte Martin, Stan’s Café’s general manager, toured me around the venue, which consists of four main spaces that are accessible into one other. I was quite amazed at how the company transformed the vacated portions of a metal factory into a range of performance and rehearsal spaces. Three spaces open into the courtyard from which a fifth space can be accessed. The company named these spaces after continents, Africa, The Americas, Europe, Asia, and Australia, which is only appropriate as a legacy to the “Rice Show” that was first staged in the venue before it went touring in different countries around the world.

On Archival Research and Writing

Through this project, I was able to implement my writing skills and existing knowledge of archival research as a methodology into practice, while confronting the challenges of history writing based on the archives. Being an “outsider” who never collaborated with the company nor watched any of their productions before, it was somewhat challenging to write the company's history as “full” and “accurate” as possible in a short period of time. So in order to address this difficulty, a considerable amount time of my placement was allotted to both research and reading.

At the outset I took time to browse through and read the webpages and blog entries of the company’s official website ( in order to familiarize myself with their production history, repertoire (theatrical, para-theatrical/site-specific, touring), education works and other miscellaneous projects. As advised by James, I also spent time looking at the company’s own compilation of newspaper and magazine clippings, programmes, catalogues, and a number of journals and books in which the works of Stan’s Café are mentioned. The resources that I got from their website and documentation were supplemented by my own online research, which I compiled and arranged in different categories and word files – news, press releases, blog entries, and reviews, while also noting the pertinent bibliographic information which are then utilized to expand the citations of the Wiki page.

In an attempt to have an accurate and expanded account of the company’s history, I utilized as much available resources as possible to expand the texts and citations. I had to embark on the research of related literature and treat the task just like an academic research project. The main methodology that I did was having conversations with James, who acted as my primary source. Gathering secondary sources were also done as another means of knowing more about the company. This methodology was facilitated with the use of a range of archival materials, including published articles, news, books, journals, etc.

Upon completion of my initial research and review of the existing Wikipedia entry, I met with James and presented him my recommendations for the page. I came up with a number of categories that I found relevant, which he later revised for development. To facilitate my writing process, James outlined a chronological chart of the company’s productions over the years, categorizing them as either theatrical, para-theatrical, or touring projects. I was guided by this chart throughout the course of writing the Wikipedia page.

On the Role of Documentation and Archive

One could argue that there’s no such theatre group that does not express interest in preserving its own documentation, and I find it interesting the degree of attention that Stan’s Cafe gives to the archives and cataloguing its own works. Hence, if there’s one thing that I learned while doing my research for this project, it is perhaps the important role that documentation plays for the theatre company. I could only speculate about what their exact intentions are, but I think that this topic raises a number of issues about the function and the role of the archive in theatre and performance. Does it bring credibility? Is it aimed at marketing or promoting? Does it serve as a report? Or a record of history and memory? Or is it merely for posterity? Why create a Wikipedia page, in the first place? I guess, it could be an amalgamation of these motives.

As I observed it, Stan’s Café is a group that takes archiving and documentation seriously, and every theatre company, in my opinion, should do the same. I couldn’t agree more that the requirement for documentation, as what James stresses, can be particularly helpful when dealing with “promoters, curators, and folk” who can give opportunities to get their theatre work out there. The company also makes use of the internet both as an archive and a platform for communication, presence and promotion, which is clearly a good strategy. The company’s official website is an archive in itself. In fact, a bulk of information that I referenced in writing the Wikipedia entry came from the website. Their online diary, which they update with texts, photos, and videos on a regular basis, is also extremely helpful.

On the Practice of Collaboration

As an intern at Stan’s Café, I was also acquainted with the structure of the theatre company and the rationale for adopting such a structure, while researching and working on the Wikipedia. Basically, the company is a group of artists coming from different disciplines, under the artistic direction of James. Since the very beginning, Stan’s Café has always been open to outside collaborators and associate artists from a wide variety of backgrounds.

This openness for collaboration is one attribute that I admire about Stan’s Cafe for a number of reasons. For one thing, collaboration can be fruitful for it allows a company not only to branch out, but to build relationships with other artists as well. Being open for collaboration has eventually broadened the company’s base and developed strong connections with venues, individuals, and companies across the United Kingdom and other parts of the world.

For Stan’s Café, collaboration is a valuable component in the creative process. Indeed, interesting works can be created when artists collaborate – both with one another, and with people who don’t necessarily come from the background of theatre. And this is exactly what Stan’s Café has been doing over the years. Although they mostly work with performers and devisers, they also collaborate with other individuals such as sound artists, composers, photographers, visual artists, sculptors and filmmakers. Depending on the production being worked upon, the lineup changes from time to time. The company has learned to collaborate with a diverse group of people and operate in a dynamic environment, specifically on staging site-specific works and touring projects.

Stan’s Café’s practice of devising theatre works through collaboration has led me to interrogate a number of questions regarding authorship, creative process, and challenges inherent in collaborative, experimental theatre-making. What stakes of authorship, for instance, can be applied in a collaborative context? How is devised work written? What is the applicable paradigm/model for curating or directing collaborative theatre practices? These are some preliminary questions that I have in mind when I think about collaboration in theatre. I haven’t done any research on this topic and I would like to explore this in the future.

It is also worth mentioning that, in terms of practice, the company doesn’t limit itself as a theatre group, but rather constantly creates works exploring the hybridity and inter-disciplinarity in performance. Stan’s Café produces theatre, radio, films, installations, durational, site specific works and historical revivals without altering its category as a theatre company, perhaps in an attempt to reach, excite, and engage with new audiences. Their paratheatrical performances, in particular, largely problematize the theatrical use of space and allow spaces to be explored and understood in a variety of ways. Likewise, the company often interrogates the relationship between a piece of installation or performance and the audience, while veering away from the traditional paradigm of art/spectator interaction generated from typical theatre architecture. This artistic approach is evident in many of Stan’s Café’s site-specific, experimental pieces.

On Theatre and Education

Another valuable lesson that I acquired while working with Stan’s Café is the efficacy of integrating education with theatrical projects that deal with engaging, socially relevant themes. This is an initiative that the company is really passionate about. Part of their legacy is collaborating with students and working in a variety of educational settings, ranging from running film-making classes, devising theatre shows for kids, to staging large-scale theatre productions with university students. They also conduct workshops and lectures for both students and teachers in support of their theatre shows, as a form of engagement in which creative ideas are explored and devised collaboratively.

Stan’s Café’s education initiatives are often in constant dialogue with the rest of their repertoire. For instance, Stan’s Café saw the educational potential of the “Rice Show” so they decided to develop a community/education version of the piece, which they called Plague Nation. In this project, they incorporated statistics that would illustrate a range of ideas to young students, and which were relevant to the communities in which they lived. This education work was toured to schools across the United Kingdom.

What I find remarkable here is how these two strands – theatre and education – can inform one other and often combine.

On the Issue of Funding

The issue of funding is another topic that is worth discussing in this placement report. Working with Stan’s Café has not only taught me of effective ways of expanding its base, but also of the need for being resourceful and creative, especially at times of crisis. In one of my conversations with James, he told me how Stan’s Cafe progressed from its early beginnings as a partnership between him and Graeme Rose and that they first did rehearsals in a spare room of a rented house, and for a time, even became resident on the top floor of an abandoned factory building due to insufficient funding. It was not until 2002 when the company got its first revenue funding from Arts Council England.

The current economic landscape, one way or another, affects Stan’s Café and its funding considerably. As a matter of fact, their funding agreement from Arts Council England has been amended and they will receive 1% cut in funding next year, and 2% the year after. It is a known fact that as the British government cuts expenses, culture and the arts are among the first to face reductions in the already limited funding. With these budget cuts in government, other sources of support have become critical to Stan’s Café’s financial health, and this is something that the company has learned to deal with over the years.

There is no denying that devising a production amidst budget cuts can be challenging. However, sufficient funding isn’t everything for a theatre company to survive. Take for instance the case of Stan’s Café’s innovative project, Of All The People In All The World. I was amazed with the fact that it was initially mounted through a measly £700 funding, which the company used to buy a tonne of rice. The “Rice Show” would eventually become very successful internationally, open doors for touring opportunities, and generate a great deal of grants and income for the company. In their production, Just Price of Flowers, the company used the set and costumes recycled from The Cleansing of Constance Brown. What I’d like to point out here is that creativity and resourcefulness precede funding. Such a big cliché but true.

A short promotional video of the Stan's Cafe performance installation, 
Of All The People In All The World.


In the end, I did enjoy my experience working with the company, even though I felt, to some extent, that I wasn’t used to my full potential. Given the opportunity, I would have liked to do some other tasks such as getting involved in some practical and technical aspects of their production. However, I fully understand that three months was not enough time for me to integrate myself in their work process, and they were too busy rehearsing for their production, The Anatomy of Melancholy.

Nevertheless, it was a pleasure working with James who constantly kept in contact with me to answer my questions and make sure that I write the entry as accurate as possible. Through a combination of research methodologies and meetings with James, I eventually got a grip of the company’s production history, structure, repertoire, and how it has run for the past two decades.

As a whole, the work that I have done for the company has been a good experience. I am grateful to have had this opportunity. Stan’s Café is such an interesting theatre company that complicates the definition of theatre through the use of multi-disciplinal, inter-disciplinal, and hybrid sources.

Stan’s Café is my cup of tea.


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