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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
www.themultipleexposureproject.co.nr
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

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 themultipleexposureproject@gmail.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 / 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.

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

Featured Artists
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Critical Analysis of the Aesthetic Appreciation of Photography

By Isravel Prabhakaran

Photography has been the subject of varied intelligent. Modern societies are saturated with photographs. From holiday snapshots to newspapers, adverts, and the pristine walls of the fine art galleries, photographs can be found everywhere, performing an extraordinary range of functions. A critical fascination with the medium has inspired many quite different responses to photographs.

Pictorial photography's deep entrenchment in outdated, painterly aesthetic standards can be ascertained by time period of 1889-1920 to other contemporary art movements time periods. For example impressionism captured changing and fleeting movements through light and colour the pictorial photographers appointed its tenets of intense observation of light to render more classical designs. By the early 1900's fauvism, cubism, expressionism, and futurism had emerged in painting - all aesthetics that challenged representational and imaginative art in their own distinct ways: fauvism promoted brilliant and abstract colour, cubism emphasized geometric planes, expressionism isolated figures and linear decorative lines, and futurism was fascinated with modern technology and industry.

By 1911 constructivism, an aesthetic movement grounded in design, construction and abstraction emerged in Russia. While after the First World War, 'Dadaism' which attacked the concepts of art that advocated coherence, order, and beauty, developed in Germany, France and America.

Indeed, by 1901, some photographers even condemned manipulated printing processes and argued for straight photography that would explore those properties endemic to its own material. In the context of these experimental trends in painting and photography from approximately 1900-1920, the association of pictorialism with amateurs excluded them form any kind of formal experimentation, or innovation by promoting a visual standard based on classical norms. It was taken for granted that photography was exclusively a visual art, and therefore that the aesthetic qualities of images should be the primary subject of exploration.

Consequently a fine-arts approach to photography, involving the study of important works produced by significant artists, commanded the critical attention of people who wrote thoughtfully on the subject. During the last sixty years the photographers agreed upon as being "important" have been organized into museum exhibitions and gallery shows edited into coffee- table books with spectacular reproductions, amassed in private and institutional collections, and discussed by critics and scholars. Ideally, the formal features of photograph should illuminate the subject matter, reveling something about subject not otherwise perceived, as in Edward Steichen's famous portrait of J.Pierpont Morgan - 'a formal tour de force,' that seems also to provide insight into the character of that captain of industry. Steichen's photographs; were regarded solely for their aesthetic value because the sitters were unknown to most viewers.

In the mid-1930's Beaumont Newhall was asked by the Museum of Modern Art in New York to organise an exhibition on the 'history of photography' based on the photographic holdings of the museum. He subsequently wrote what became the most popular and mostly widely read history of photography in the United States of America (1938). Newhall's book was instrumental in the construction of the most influential version of photography's fine- arts canon. Newhall in his foreword makes it clear that which photography is "a vital means of communication and expression" his interest lie exclusively in exploring it "contribution to the visual Arts". This dichotomy between communication and expression has dominated thinking about photography. While Newhall and others expanded and refined their canon, the basic assumption underlying the dominant art-historical approach has remained unchanged: a photograph is interesting and significant only if it succeeds as an aesthetic expression. In 1937, Newhall published a book, "The History of Photography: From 1839 to Present" as an illustrated catalog. This publication dedicated to the memory of Alfred Stieglitz, was designed to have a considerable and lasting international influence on perceptions regarding the pantheon of heroes marking the aesthetic progress of the medium.

Book Cover of the History of Photography by Beaumont Newhall

In 1942, Helmut Gernshiem published his first book, 'New Photo Vision' an anthology of his own creative work as a photographer. He went on to research to publish a series of books which became the foundation knowledge of a generation of students and enthusiasts of the medium. Gernshiem published work, much of it produced in collaboration with his wife Alison, includes on Julia Margaret Cameron, Caroll Lewis, Roger Fenton and Alvin Langdon Coburn. During 1970, photography started to enjoy wider acceptance within critical circles, marked by the establishment of a growing number of educational study courses, by more frequent museum and commercial exhibitions, and through projects devoted to the promotion of and analytical debate concerning photographs. The complexities of the subject were explored by a new generation of collectors who had made a considerable contribution to the understanding of photography, embracing its vernacular applications as well as its accepted pantheon of masters. A particular impact was made by the American collector and curator Sam Wagstaff in enriching the potential to appreciate photograph as carrying the weight of diverse artistic, sociological and phenomenal cross- references. Among many transformations of "accidental" art canonical images are two seminal examples: Alex Alland Sr's exhibition and publication of salon quality prints of Jacob Riis's 'Slum Snapshots' (1974) and Szarkowski's, 'From the Picture Press' in which press photographers, usually seen as grainy supplements of news stories, became aesthetic objects. What is interesting in the history of photography, "On the Invention of Meaning in Philosophy", Howard Becker's "Photography and Sociology" and more recently, Naomi Rosenblum's "A World History of Photography" are signposts of a significant departure from earlier assumptions.

In 1989, photography as a practical medium was 150 years old and the anniversaries was celebrated in many countries with exhibitions and publications and have serve to reinforce and broaden recognition and understanding of the history of photographic image-making and the impact of these images in our culture. During the last twenty five years, the dominant art- historical approach to photography, and to all the arts for that matter, has been under dispute from a number of theoretical vantage points. Studies of photography based on Ethnographic, Sociological, Psychological, Marxist, Feminists, Postmodern and other points of view have broaden our horizons. In the words of Antoine Claudet, a French photographer said: 
Photography indeed can invent, create and compose as well as copy. In fact, particularly in portraiture, the machine copies what the true artist has invented, created, and composed, which could never have been copied or represented if the photographer had not possessed genius.
Portrait of French photographer Antoine Claudet

Photography has become the focus of considerable philosophical and critical analysis in recent decades. In many cases photographs have been promoted as the bearers of socio-political messages independently for their visual qualities and much debate as centered on the semiology of images. Today it is widely acknowledged that photography can and does have a variety of functions, only one of which is the production of art, and that images reward us when we contemplate them.

J.ISRAVEL PRABHAKARAN
Ph.D., Scholar,
Department of History,
Madras Christian College(Autonomous)
Tambaram,
Chennai-600 059
Article Source: ezinearticles

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