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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 Ralph Klewitz: Creative Insights From A Post-Disciplinary Artist

Interviewed by Sherwin Altarez Mapanoo 

Currently based in Kuching, Malaysia, Swiss-born Ralph Klewitz defines his practice as “post-disciplinary” and sees himself not just a visual artist or an academician, but more importantly a “citizen” of the world who has the potency to effect positive changes and nurture spaces for artistic creation. In this interview, he imparts stimulating and discursive insights about art and life in general; analogue versus digital; and the juxtaposition of typography with photography.

At Kampung Sadir waterfalls, Sarawak, Malaysia. Photograph courtesy of Alyana Chong.

Please introduce yourself. Tell us something about your artistic practice and research interests. 

Looking at my biographical markers: I grew up in Switzerland, studied typography, visual communication design, fine arts and worked as a designer, academician and artist in various parts of the world. My present live cocktail consists of working an academician, pursuing my artist practice and progressing my doctoral candidature in fine arts.

Because I don’t work systematically, I create whatever interests me at a time. Often, in hindsight, I recognise reoccurring themes, such described by Guy Debord in Society of the Spectacle, which I read about 10 years ago. His and my own ideas seem to have some common denominators that might echo in a number of my pieces. Also, I sometimes recall theories negotiated by existentialism when contemplating my work. But these are only two of many frameworks, which I could consult to contextualise my art. Beside my own interpretations, I value the perceiver’s own readings of my artistic propositions. I think what my art speaks is more important than what I say about it.

I regard my artistic practice as post-disciplinary, meaning, that I neither focus on mastering a medium nor do I find a need or reason to differentiate between them. Instead, I choose media so that they assist me to initiate and progress my artistic process. In doing so, I regard it as irrelevant on how much I am able to control a medium or how much practice I have in a discipline. In being innocent, sometimes naïve and dilettante, I spark my own curiosity to discover new ideas and things during my artistic process.

My doctoral studies at Aalto University in Finland will lead towards a dissertation that will be comprised of a body of artwork and a written thesis. Depending on the theories, some scholars name the method to achieve this outcome a practice-led, others a practice-based PhD. For the final examination, I plan to curate an exhibition of artwork that I have produced during my doctoral studies. In addition, I reflect on my artistic process by translating it into language. The intention of my research is that I aim to contribute knowledge to members of the art world, such as artists, art historians and art critics as well as to academia, particularly to the discipline of Art Education.

Looking at the research and teaching section of your CV, I should say you are a nomadic person, moving from one place to another. To what extent this mobility affects your work? 

Moving from place to place is partially voluntary and sometimes a given condition, because my academic career is situated in a niche market. Often a position opening, asking for a background and experience like I have, indicates where my next home may be located. Also, most of my academic employment has been based on fixed term contracts, meaning, once a contracts ends, I need to move on.

Living and working in various parts of the world definitely influences my artistic practise to a certain extend. But when asked about how my nomadic lifestyle affects my work, I cannot pinpoint it because I don’t know how my artistic practice would have been had I lived somewhere else or had I a more stationary life. But each country, in which I have been living so far, has had its own aspects that I liked or disliked. In Malaysia, for instance, they are the living conditions controlled by the political system and my occasional ‘expeditions’ into the remains of the lush rainforest, which sometimes flow into my art. So, I guess it is more immersing myself into a nation, meeting its people and understanding their cultures, rather the change of locations per se, which impacts on my artistic practice. On the other side, the contrasts between the geographical locations and mind spaces inspire me to consciously or intuitively juxtapose those in my artwork.

WZ106_Inst1 (2014)
Installation view: Park Avenue Apartments, Kuching/Malaysia.
Description: Plastic bag; 80 LED string lights.

What do you teach in Malaysia? Why did you decide to stay in Asia? 

My second stay in Asia – I was employed as a graphic designer in Hong Kong in 1993, is also temporary. I am employed on a contract basis as a senior lecturer in graphic design at Swinburne University of Technology, Sarawak Campus, in Kuching/Borneo since 2012. The reason to work here is because Swinburne is an Australian university, which is beneficial for my future academic career plans. My next goal is to find an academic position in Melbourne, so that I can stay closer to my 6-year-old son, who lives there.

What is the main source of inspiration in your work? 

Instead of a main source of inspiration, various aspects of my life’s experiences, observations and reflections inform my artistic practice. These may be relevant, irrelevant, conscious, subconscious, rational, fictional, factual, empirical, theoretical, imaginative, intuitive, etc. or a combination of thereof. It is the complexity of life, which inspires my work.

WZ96_Sculp1 (2014)
Installation view: Park Avenue Apartments, Kuching/Malaysia.
Description: Compass ball; microwave oven.

I read your conference paper ‘World Signs: Symbols without Meaning’ and I find it interesting that you incorporated typography with photography. Why? How did this idea come about? 

I initiated this project in 2005, worked on it for roughly five years and presented a reflection thereof at the conference Typography Day 2013 in India. This body of work was a phase in which I progressed my career transformation from working as a commercial graphic designer to becoming an academician and artist.

Typography is a discipline, which fascinates me since I was 16, because I keep experiencing the experimentation with visual representation of language as challenging and rewarding. The second medium that I incorporated was photography, which is also a medium that I deploy for almost 40 years. This medium fascinates me, because I can use the camera to represent the world naturalistic and abstract, depending on its settings. It was the energy, which I applied to both, control and neglect harmonies, as well as to juxtapose between typographic and photographic artefacts, which kept me working on this project.

World Signs B. 11.1 (2009)
Digital Media, Inkjet on paper
Dimension: 90 x 72 cm

You created this font called ‘World Signs’. Can you explain what this project is all about? What does it mean and what’s the inspiration behind it? Have you already made this font available online? 

When designing the font ‘World Signs’, my intention was to depart from traditional reading conventions of typography where each sign has a function, for instances in the Latin alphabet, letters functioning as building blocks to compose words, sentences and stories. I wanted to create signs that have an expression which suggests the possibility to be deciphered internationally; a fictions language that everyone could relate to but one which did not have a reading convention. As a result, I created a family of signs, which may evoke dingbats, icons and logotypes, and named it ‘World Signs’.

Your last question motivated me to publish my font: It can now be downloaded via a link that I have listed in my personal blog; please refer to the below link. Via my blog, I also provide a link to access the above mentioned conference paper.

I also see that you are still into analogue photography. Do you have a preference for film as a medium over digital? What do you like or dislike between these two photographic technologies? 

In pursuing my artistic interests, I decide what kind of tools and materials I need. For the ‘World Signs’ body of work I preferred my old manual viewfinder camera that I bought when I was a teenager. I can set the aperture opening and shutter speed as I wish and it even works without batteries. The pragmatic handling allowed me to produce the desired motion blur effect without first overwriting an automatic camera setting.

What still intrigues me about analogue photography is that I don’t get an instant gratification of what I’ve shot. I must wait until the film is processed and the contact sheet is produced before am able to see what I have photographed. This uncertainty and the limbo phase are exciting because I have often discovered qualities in photographs that I would have overlooked had I shot them digitally. Nowadays, this camera is in a warehouse in Brisbane together with other stuff that I needed to leave behind when I left Australia a few years ago. Since one year working with a digital compact camera that has setting options like a DSLR, I appreciate its small size and weight that encourages me to take it with me on most of my urban and rural journeys.

WZ62_Mont8 (2013)
Video still, single channel (colour; stereo sound); 12:09 min.

As a visual artist, what’s your discursive take on the performance and representation of the self in selfie photography? What does this phenomenon say about our times? 

When going out for dinner with friends, I am always intrigued watching younger guests taking pictures of themselves and by themselves. I often observe this ritual as a repetitive and time consuming act that makes me wonder, how these people spent their nights out before smartphones. It is not so much the activity of capturing memories but the multiple takes of the same pose and the same subject that I sometimes interpret as narcissism, exaggerated vanity with an addictive component.

On the other side, I observe how the rotating photographers and their subjects enjoy the task of taking and looking at their pictures. Selecting the best ones, uploading those on their social networks and waiting for the ‘likes’ just prolongs the entertainment. The fun these people have is sometimes contagious, not that I would become an excessive self- and friends photographer myself but their enjoyment sometimes sparks a positive feeling in me.

What do you think is the most pressing issue of today that should be talked out and represented? 

In a seminar at the Bern University of Arts, where I completed my MFA, I recall a comment from an academician during a discussion. He said, that if he wants to gain an insight of a topic within a particular discipline, such as politics or sociology, he studies the literature. This made a lot of sense to me because I don’t expect my art to substitute or compete with such discussions. Of course, some artwork pieces can be contextualised within certain paradigms like I sometimes do it myself as described above. But in my opinion, interpretations should always be made unbiased and independently from an artist’s or other art world professional’s voice. I thus advocate that my art should be open for the kinds of perceptions and interpretations, which the perceiver chooses to apply. Such a plurality demonstrates the democratic universality of the langue of art, which may also inspire thoughts and contribute to discussions within other academic disciplines. What intrigues me most is the potential of the language of art to speak about art itself. And as art is always contextualised within life, all sorts of insights may flow into and out of art discourses.

In a broader light, I do not exclusively define myself as an artist. In my role as a citizen, it is important to me to continuously promote human rights such as equality and freedom of expression; values that must be implemented globally, also in third world and developing countries. Such rights are on the forefront of my thinking and inform my artistic practise in one way or another. How, and if at all, these thoughts may be interpreted, is in the thoughts and emotions of the perceiver.

Whilst referring to my artistic process and its intrinsic rewards, I also advocate establishing, sustaining and nurturing spaces for creation that are as free as possible from bureaucratic red tapes. To achieve this goal in educational environments, I promote the valuable experiences of mentoring and peer critiquing sessions. Personally, this guidance model supported me to artistically strive. Another strategy to annihilate mechanical norms and deterministic learning goals is to encourage students to playfully explore their creativity rather than to instruct them in practicing and mastering skills. The former is motivating to express one’s own originality whist the latter is more like reproducing someone else’s ideas, concepts or dreams. Consequently, I emphasize to discover and nurture a seed that already lives in a student rather than to plant mine or someone else’s in him or her.

In summary, I argue that the empowerment of a student’s creative potentials is one of my core pedagogical values. In my opinion, this process should be combined with raising awareness and responsibility for the impacts and dangers of creative outcomes. I believe that this approach should be extended from arts to science education, covering kindergarten plays right up to doctoral studies. For me, this educational discourse has, and always will have, a pressing urgency, until its best possible conditions have been implemented. Its final destination will be the facilitation of intrinsically motivated, free creative enquiries.

WZ83_Mont5 (2014)
Video still, single channel (colour; stereo sound); 4:17 min.; loop

Any future projects? 

Yes, of course. I keep my artistic production in flux. Looking at the past decades and predicting my future, it seems that I will produce art until the end of my days. Saying that, I don’t know today what I will create tomorrow.

To learn more about Ralph Klewitz, visit his official blog at

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