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)
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: http://bit.ly/1Ob3pC2
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.
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:
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 email@example.com.
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 /
You Qi /
Dénes Ruzsa /
Fruzsina Spitzer /
Fran et Jim /
Amelia Johannes /
Heidi C. Neubauer-Winterburn /
Jess, Lau Ching Ma /
Scott F. Hall /
Eleni Manolaraki /
Jack Rees /
Daehwan Cho /
Wu Siou Ming /
Masako Ono /
By Sherwin Altarez Mapanoo
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 /
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 /
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.
The Appearance of the Disappearance: The Gesture of Curating an Art Exhibition on Desaparecidos
By Sherwin Altarez Mapanoo
nforced disappearance, as argued by many political activists, is the worst violation that is committed against the most basic of human rights. It is an act that contravenes the right to life and liberty and engenders an excruciating form of pain, suffering and trauma, both for the victims and their family – their feelings alternating between anxiety and bleak hope, constantly haunted by the remnants of memory of their loved ones, waiting for their reunion that may never happen.
In a report published by United Nations Working Group on Enforced or Involuntary Disappearances (WGEID) in 2010, it has been revealed that there are 53,788 outstanding cases  of enforced disappearance, majority of which are still unresolved, indicating the global magnitude of the crime. These cases of desaparecidos (disappeared), although occurring in different countries, mostly in Asia, Latin America and Africa, can be framed within the similar context of an authoritarian and repressive structure of the political system in which the state relies highly on military apparatuses to suppress and repress any form of dissent to maintain its (bio)power and status quo, while still hiding under the veil of democracy.
With this context in mind, this essay looks at the gesture, symbolic function and political dimension of the practice of curating an exhibition on the desaparecidos who have been abducted and most likely killed by the state and army forces. As a case study, I will reference and analyse a curatorial project dealing with this issue entitled Los Desaparecidos/The Disappeared
, an international touring exhibition featuring the works by a collective of Latin American artists. It was curated by Laurel Reuter of the North Dakota Museum of Art and has been exhibited in different venues in the United States and Latin America.
Gallery as a Space of Appearance
What does the curator interrogate in curating a space for the disappeared who are victims of covert acts that cannot be seen? How do you approach and (re)present the disappeared subjects artistically?
It is not an hyperbole to claim that the practice of curating a space for the desaparecidos is a daring, provocative artistic and political gesture, not only because of the issue that it confronts, but, more notably, of how it engages with the notion of the gallery space as part of the public sphere where the context and content become interchangeable; the personal and the political become potent; and the archive, witnessing and testimony inform one other. On the most basic level, the gesture exposes the sovereign state’s violation against the abductees by withdrawing them from society, hence trampling upon the public dimension of their human existence or what Hannah Arendt coined as “appearance.” On another level, it attempts to create an archive, an alternative form of knowledge, an affective testimony that exposes the clandestine acts of enforced disappearance committed by military or paramilitary forces, which problematically “cannot be seen.”
Obviously, there is huge a paradox here: how do you exactly make something that has disappeared appear? And how can you (re)present subjects that were once present, but now exist in obscurity?
Take Los Desaparecidos/The Disappeared
 as an example. Curated by Laurel Reuter, the exhibition presents a multi-media narrative of the disquieting cases of desaparecidos in Latin America by bringing together a plethora of visual imageries — photographs, installations, sculptures and mixed media — which all conjure the presence (and also the absence) of missing persons. The preface to the exhibition catalogue reads: “The challenge in these societies is to find a way of reclaiming the dead and honouring their presence in a manner that nonetheless still allows room for, indeed, creates room for the living.”
In order to confront this challenge, Reuter specifically invited artists who have witnessed and experienced the terror of military repression in their own right. Exhibited artworks are either personal or auto-biographical, reflecting the artists’ experiences or responses on the political abduction. It should also be taken into account that the participating artists have friends and relatives who were abducted, while others are political activists or individuals in exile. In this process of selection, it can be asserted that the curator positions herself as a critical and political figure, rather than an apathetic one, who puts forward specific ideologies and agenda, attempting to bridge the gap between the gallery and the public; the aesthetic and the political. To quote Marion von Osten directly: “The curatorial position and its power to decide and to select also means that it produces cultural values, and accordingly influences the public opinion. The curatorial decision is therefore actively involved in the process of the constitution of articulations and their meanings” (60).
By curating an exhibition on desaparecidos, the curator constructs a public “space of appearance,” which, Arendt argues, can be recreated wherever individuals gather together politically, that is, “wherever men are together in the manner of speech and action” (198). The gallery becomes a space of appearance precisely because its existence is constructed based upon the intention of gathering individuals together, including artists, family of victims, and the public at large that it wants to address, for the purpose of discussing a political issue of public concern. It becomes a potential space for dialogue that realizes its actualization in the political and aesthetic choices of the curator along with artist-activists who have come jointly to carry out a common, collaborative project that challenges the power of the sovereign.
Palmal G. Face
Luis Gonzales Palma
Hermetic Tensions / Tensiones Hermeticas, 1997
Palmal G. Shirt
Luis Gonzales Palma
Hermetic Tensions / Tensiones Hermeticas, 1997
It is also noteworthy that the curator has opted to turn this project into an internationally traveling exhibition, in an attempt to reach a broader audience,while confronting (and preserving) the memory of the victims through the (re)presentational visual narrative of the disappeared cases in different contexts. The project was also supplemented by open-to-the public forums for students and educators to discuss the issues of enforced disappearance in Latin America. In this way, the exhibition becomes not only a product of a collaborative effort, but also of a collective action in which the viewing public (spectators) are being invited and engaged to partake in a discursive dialogue on the issues and context.
Evidently, this curatorial approach is in contrast to modernist gallery practice of transforming the viewing subject from context to content, which, according to Brian O’Doherty, happens primarily through its disappearance: “The outside world must not come in…the art is free as the saying used to go, to take on its own life.”(15) As opposed to the white cube which is intentionally designed to neutralize social space and time from the artworks, curating an exhibit for the desaparecidos does not attempt to free itself from the actual context, but rather use it as the content itself and lay its claims to the public realm.
On Resistance, (Bio)Power, and (Counter)Public
Echoing Michel Foucault’s discussion of power and politics, the practice of curating an exhibit for the disappeared can also be read as a mode of resistance. For him, “there are no relations of power without resistances” (142). Along with exercise of power, Foucault argues, there always exists a possibility for resistance, despite the pervasive, stabilizing nature of state power (biopower) over the physical and political bodies of its citizens. In order to resist (bio)power, there is a necessity for an individual to assume a discursive subject-position. Giorgio Agamben expresses a related argument, saying that subjectivation is the “production of consciousness in the event of discourse” (Remnants 123).
Through the creation of a space of appearance in the gallery, Los Desaparecidos/The Disappeared
reveals the potential of curatorial practice as an action that enables freedom, resistance, and generation of power. The curatorial project can be specifically seen as a strategy of resistance that highlights the plight of the disempowered, or what Agamben has coined as “bare life” or homo sacer, whose life is rendered meaningless by the state; or the sacred man having “life that cannot be sacrificed yet may, nevertheless, be killed” (13). As such, enforced disappearance does not merely aim at making individuals disappear, but also methodically intends to dilute the responsibilities away from the state since it is done covertly,attempting to leave no evidence or trace of the crime behind. Because of this, the state is able to free itself from any guilt or accusation of complicity on possible human rights abuses, while also systematically protecting itself as an institution. The notion of bare life has direct relevance to the plight of the desaparecidos, and the exhibition exposes this condition and serves as a symbolic mode of resistance to the political power of the sovereign state. According to Gareth Williams, “If, as Laclau puts it, every act of institution entails a sedimented concealment, then the symbolic value of the desaparecidos resides in the fact that their sustained absence calls the attention to the ill-established power base”(326).
At the core of this notion is framing the figure of the homo sacer in what Agamben refers to as “state of exception” (18). At times when the state sees itself to be under threat, it consequently strips its citizens of their civil liberties in order to maintain control over the populace. This “state of exception,” in particular, is also being problematized and put into question through curating a space for the desaparecidos – being the disempowered, bare life. Furthermore, as the exhibition points to creating an alternative knowledge or counter-narrative, it also engages with the intersection between a curatorial project and the “counter-public,” which exists to a great extent outside of the dominant model of a general public and engage in generating representations and counter-discourses through the “means of self-assertion…against the assignments of status implied by the visualization practices and related discourses" (von Osten 62).
The Remnants of the Disappeared
Finally, curating an exhibition for the disappeared highlights the relationship between creating a narrative and remembrance; and the preservation of the victim’s memory in relation to the archive and testimony.
In Remnants of Auschwitz
, Agamben reflects on the complex intersections between witnessing, testimony, and archive. For him, the archive rests in between the said and the unsaid, while testimony is drawn from the potentiality of the unsaid or what has been experienced but remains to be expressed or spoken by the witness. Agamben argues that “testimony…appears as a matter of bearing witness to the impossibility of speaking, that is, to the process of desubjectivation that attends every subjectivation” (Remnants 115). Los Desaparecidos/The Disappeared
interrogates this complicated juncture between the archive and the testimony by relying on the “remnants” of the victims’ memory and the artists’ mode of witnessing and translating them into artworks. Needless to say,the curator and artists’ accounts become a substitute for a narrative that has yet to be spoken; and the disappeared subjects “bear witness to a missing testimony” (Remnants 34).
Installation by Nicolás Guagnini
30.000, detail. 1998-2005,
acrylic on wood, 45.5 x 45.5 x 51 inches
Also, Agamben’s notion of the “remnant” resonates a lot with the exhibition where bits and pieces of (missing) testimony, symbolic objects (such the victims’ photographs and personal possessions) and other visual languages are collected and displayed to make the disappeared appear and create an account of the horrors of the political abduction. According to Agamben, the “remnant” functions in a paradoxical manner – that it indicates not only the part of a whole remaindered through a process of selection and segregation, but also indicates the points of contact between the part and the whole, stressing that the remnant operates as a redemptive machine that allows the salvation of the whole as the signification of division and loss (Remnants 162). The remnant provides a mode of redemption,and the testimony becomes the task of the remnant of biopolitics. In the exhibition, the “remnants” of the disappeared are articulated through the selection and curation of display of affective, personal and biographical pieces.
In doing so, the exhibition is able to bring the disappeared subjects back to a symbolic presence and materiality, and engage the public and the spectators in a process of remembrance and witnessing, rather than displaying them merely as objects or victims of (bio)political violence.
Through curating a space for the disappeared, it appears to be that the curators and artists alike construct a counter-discourse and narrative by critiquing and exposing the despotic, dominant power of the sovereign state which imposes control over the desaparecidos’(missing) bodies. Los Desaparecidos also suggests that the power and relationships between the curators, artists, and the disappeared victims can be much more potent than the sovereign power. By making the disappeared appear in the gallery space through the archive and testimony, the state of exception is also being challenged and the chain of responsibilities of the state is also underscored. From being a mere aesthetic gesture, curatorial practice turns into a political act and resistance, addressing the state and the public, and blurring the demarcating line between the gallery space and the public realm.
 Data taken from the website of International Coalition Against Enforced Disappearances: www.icaed.org
 For exhibition overview, see the videos : www.youtube.com/watch?v=sO9Fl86QCuoand www.cordilleraproductions.com/?p=58
 Cawston, Rob. "Los Desaparecidos: rescuing real lives." Open Democracy. Web. 16 March 2007. 21 May 2013. <http://www.opendemocracy.net/arts-photography/disappeared_4443.jsp
 There are two types of witness, according to Agamben. One is derived from the term terstis–testimony -which refers to the act of speaking on behalf of another. The other is the superstes, the witness who has first-hand experience of the event.
Agamben, Giorgio. Homo Sacer: Sovereign Power and Bare Life. California: Stanford University Press, 1998.
---. Remnants of Auschwitz: The Witness and the Archive. New York : Zone Books, 1999.
Foucault, M., 'Body/Power' and 'Truth and Power' in C. Gordon (ed.) Michel Foucault: Power/Knowledge, U.K.: Harvester, 1980.
O'Doherty, Brian.Inside the White Cube: The Ideology of the Gallery Space. California: University of California Press, 1999.
Williams, Gareth. The Other Side of the Popular: Neoliberalism and Subalternity in Latin America.Durham: Duke University Press, 2002.
von Osten, Marion. 'Producing Publics-Making Worlds Project Exhibitions as Artistic Practice.' In: Curating Critique: 9.11 (2007): 59-66.
Labels: Essays, Reviews