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the multiple eXposure project zine:


issue 1.0

april 2015


I AM by Stephan GroĂ&#x;

Cover image by Stephan Groß (Germany) The expression "I am" is shown in the 16 cardinal directions of the wind rose. The sense is to work out a radial graphic braiding with an attracting focal point and likewise an impression of a centrifugal force. Due to this ambivalent design the depicted phantasm of “identity” undergoes a lyric refraction.

Published by The Multiple eXposure Project: 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.

Editor/Curator: Sherwin Altarez Mapanoo Website: Email:


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

Disclaimer: The copyright of all materials on this publication belong to the respective author and/or creator of text and/or of image. All rights are reserved. Reproduction in any form requires the written permission of the copyright owner.

Editor’s Note:


ho 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 “selffragmentation” also revolves around the nature of postmodernism: 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.


[the self as i/other:] ego and alter ego

readdressing the story of i: a palimpsest project J.D. Doria and Dr. Sayfan Giulia Borghini (Italy) shadow catchers Aldobranti (UK) we have met the enemy and he is us Olga Sidilkovskaya (Russia & USA) spasm Ana Rita Matias (Portugal) streets of insomnia Anne Paternotte (Netherlands) 4.48 and i’m still not sleeping Rudi Rapf (Austria) vystavit (wake up) Leigh Anthony Dehaney (Canada) la ura Laura Knapp (USA)

a work-in-progress Jennifer van Exel (Netherlands) circle of transient realms Derya Edem (UK & Turkey) need Arushee Agrawal (India) eye is the most faithful mirror Utami Dewi Godjali (Indonesia) before yourself Çağlar Uzun (Turkey) earthbeing Mahmoud Khattab (Egypt) non-titled Noel Villa (Philippines)

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//readdressing the story of i: a palimpsest project >>> J.D. Doria and Dr. Sayfan Giulia Borghini Italy

Questions for a moment materialize as creatures that chaotically weave through our minds, crawling our reflections, intercepting thoughts, opening and closing windows, bursting activity; but, if to extrapolate, what do Questions ‘want’? In an eerie shimmer it seems as clear as it is paradoxical, Questions ‘want’ a self. Questions, before anything else, request the installation of thought and make necessary the production of ‘a mind’ - a momentary instance carrying the option for long duration. Live questions are doors to existence, pumping quiescent matter into visibility. Questions are agents of future selves. To utter a question is to engage with the poietic of self, to utter a question is to subscribe to a society of singularities. The Century of the Self

Complexity Graphics By Tatiana Plakhova

In a late summer afternoon, contemplating the geography of mind, I follow the trails left by questions, point-like collapses scattering semistable pieces into thin vapor, only to re-coalesce later on in the growing maze of thought. Never knowing when the architecture will hold to the aggregating wave.

In his 2002, 4 part documentary series ‘The Century of the Self’ Adam Curtis explores the junction between philosophical themes such as the primacy of human will, the consequences of Freud theory of the self and the rise of modern economics. Curtis, unfolds an interesting tale about how the Individual space at its modern beginning, was high-jacked by the political and economical system of the first half of the 20th century into being the all-consuming self, whose presence too well characterizes the crisis punctuating our days.

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contemporary human – that of being an entity that lacks a “suiting” Self. A human in our society is described as a clear entity, a recognized individual (at least legally and commercially), who finds itself facilitated with an ever-increasing accessibility to new dimensions of producing objects of identity. Yet this same individual is lacking the arch of singularities that emerge with depth. The self of the contemporary human, more often than not, does not manage to bridge the gaps in ‘realness’ that the current shifts in technologies and realities are bringing about, and under multiple overload threats it retreats to ‘surfing’ upon an unquestioned, thinner and thinner level of interaction.

He questions the theme upon which the individual is constituted; pointing out that the malleability of man is being played into the hands of the ‘Corporate’ and of a linearly measured interest. Our adaptable self and our hailed individuality have become, in less than fifty years, tools for social control.

Only 10 years after Curtis’ century of the self and a new Mini-Series – Black Mirror, choose trauma (instead of nostalgia) as a strategy to respond to the collapse of the self. This three part Mini-Series created by Charlie Brooker is addressing as if a simple equation: the more technology (and mediation) is in use, the less substantial is the self.

Curtis along the footage asks again and again, what is the reality of self, if it gives itself so easily to be high-jacked and manipulated into a simulacrum? How do we account for the invasion of the ‘Corporate’ into the space so confidently suggested by the individual sign?

One cannot look away from the possible implications of such an equation, would it turn out to be the case. We have to ask the questions, and at least propose few answers as we accompany technology in its migration closer and deeper into our flesh, and a techno-culture is reshaping us beyond what we care to admit.

To my understanding, these questions support a direct gaze into a core problem of the

The nest of the future is in our daily present, in how we handle our moments of passage.

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Could we reclaim the space suggested by the ‘individual’ sign, away from the existing patterns of partial affirmation (and corporate policy) and into a space of open iteration, a space of significant questions? How to re-start the poietic of the self? Readdressing the Story of the I The story of the ‘I”, this non communicable experience of being, is stretched across our history, punctuated through stations of development, co-evolving with technology and

culture, reshaping its contour upon the gap between community and individuals and always, but always, rebelling against history. In her video work Paralyzed from 2003, Klara Lidén performs a dance in an underground train; it is a short video (3:50 min) and there is absolutely nothing extraordinary in it, not the frames, not the gestures nor the dynamics in the train and yet from the first moment it is clear that it is the real thing. (The relevant frames are 5:27 to 6:55) Portrait d'artiste - KLARA LIDÉN from KLIKON on Vimeo. The ‘thing’ about this work is that she fully speaks with her body. Her political and artistic act is fully articulated through simple and spontaneous body movements. She is not judging, not speaking morality, not embodying anarchic dance, it is not a smart-ass cubical intelligence at the edge of contemporary something.

Suzanne Anker MRI Butterfly (5)

Still Photo from Paralyzed from 2003, Klara Lidén

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It is however a performance of a Body, surrounded by history and culture, by time and space, by noise and everydayness, a Body that finds itself in the act of recreating itself, carving through such an act an existential space and a fleeting freedom. Klara linden provides a straight line of insight into the story of the ‘I’; the ‘I’ is always surrounded by history, be it the urban system, the social rules or the present techno-culture. In this perspective the ‘I’ has no other choice but to play according to a black-and-white game; it is either being stirred around by the history that surrounds it, or to move history. A simple, almost modest clarity, is emerging viewing her work, which is antecedent to labels and categories; The story of the ‘I” in all of its compositions and styles, at core, is a story of an intense rumbling substance. Matching the reality of the Self, endows with the ability (almost like magic) to uncoil wings as organic sleeves, allowing this rumbling substance to emerge and temporarily undo the inevitable thickness of history. That Which Minds do Beside All The Rest Georges Bataille’s Story of the Eye unfolds the attempt to escape the world of the possible and sensible, and to engage with the effort of articulating the impossible.

It is a brave poetry that uses synaesthetic language to disrupt the stable sense of subjectivity. A poetry, trying to avoid the battle between Art and text, sensation and language, between relations and categories, a direct poetry of engagement with that which is beyond the politics of freedoms and constraints. It is an honest effort of being engaged with ‘path finding’, not of a particular path, not of a particular finding, but rather, of freeing path finding from everything that surrounds and systematizes it.

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I understand Bataille’s literature and Klara Liden art as a “Labor”, the labor of the mind, or that which minds do beside all the rest. A mind in labor ‘appropriates’ the “I” as a seed ‘space’ – in terms of available resources for morphing a grain universe. Neither a given reality nor an affirmed identity may take precedence upon this, for whenever identity is the center of the “I”, the space suggested by the individual sign is occupied and useless from the standpoint of labor.

Since January 4, 1966 he has made a long series of "Date paintings" (the Today series), which consist entirely of the date of the day on which the painting was executed in simple white lettering set against a solid background.

That which a mind in labor does beside all the rest, is sculpting a space of narration (the I) into an evolving narrative, by that providing unoccupied (or re-occupied) grounds for becoming. Narratives are the suspended bridges of the self, crossing over while reformulating in mid air, projecting anchors in times yet to be formed, growing with labor into a poietic machine of becoming. Each narrative thus emerging is an edge between nodes, which were previously disconnected, possibly invisible, changing both the local experience and the global sense. Such narratives are both intimate and openly exposed, and most importantly they alter the space between the individual and the many and the existing options to carve an “I”, a new story of the ‘I’ within such gap. I AM STILL ALIVE # art The artist On Kawara sent already 2521 tweets to his friends with the same ‘repetitive’ line - I AM STILL ALIVE #art, and yet, there is nothing repetitive in its ‘artistic’ act.

Today Series – On Kawara

The work of On Kawara is a consistent addressing of the story of the ‘I’, we see a self that is simultaneously almost absent in the particularities of expression, and yet stands with the little it has in front of vastness. A self that exists confronting the reflection of a time endlessly flowing, from before its existence and long after, a space which is virtually infinite and more than it can basically imagine or grasp. A self that lives in a world with billions

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newspaper, trillions bits of information and indefinite versions of knowledge we shall never know.

Re-opening the poietic of the self In our historical impressions the ‘I’ emerges as the prime and distinct actor upon reality. Yet today while beholding its apotheosis of potency, it is crisis and collapse that surrounds us, and possibly a Meta-leap, in the ability and substance of the self to confront an increasingly complex and accelerating reality. Streaming through these pages is the necessity to expose the quest for essential change in the dynamics defining the ‘I’, as a pivotal factor in building the possibility to match the gap of realities defining our world.

The ‘labor’ of intensification of a mind produces a self that puts for a second, and maybe more, that vastness to silence - That is for a fleeting moment the content of the world. The infinitesimally gentle act of On Kawara upon the background noise weaves unseen lines of departures, from a seemingly unshakable present, into not yet visible narratives. At each bifurcation made visible, questions emerge, marking the possible difference right there and bringing agency to future. No present is unshakable, nor need it be.

From the standpoint of aesthetics, before being an actor the “I” is a space, a seed-space of actionability. More than ever, a space, to be carved empty. Empty of itself. That we may escape once and for all the neurosis of being constantly occupied with repetitive forms of ourselves. Empty of crystallized history that we may reclaim the substance of narration. Once freed, the “I” provides the space of actionability where to initiate systematic hacking into the nonchalant indifference of existence. A space infiltrating reality by threads of intensities, fractally distributing influence upon multiplying surfaces of interaction, exchanging openly yet without dismissing intricacy. In the realization of the present the ‘I’ emerges as a placeholder, bridging agency across the eruption of multiple aesthetic avatars, a seam of continuous bifurcations where curation of becoming takes place.

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Time to free the individual sign from its monolithic history of identity, departing into soft space of action-ability where the correspondence between self and aesthetic is indeed transient, restless and critical. A singular and continuously temporary installation of thought in interaction. Works of art are sometimes a direct and intimate blow-up of the tension between open-endedness to a dense core. The â&#x20AC;&#x153;Iâ&#x20AC;? is a weaving space of that story.

* Palimpsest usually refers to a manuscript or a document upon which more than one writing have been superimposed on effaced earlier writing, sometimes more than once. Historically it indicates something bearing the traces of a succession of forms in time. Frequently it's difficult to say which layer was first inscribed. The name Palimpsest is used here as a metaphor for an exploration of the possibility of superimposed minding.

Complexity Graphics By Tatiana Plakhova

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//shadow catchers

1) Shadow in flight 175

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A major part of my work derives from the title: "Shadow Catchers" of an exhibition of cameraless photography (V&A, London 2010). Since then my focus of research has been on the identity and movement of shadows, in particular shadows that invite our efforts to catch them. Like a wildlife photographer, I have run after them to catch them in rare moments of their individual action (1): in some attempt to answer the question what would my, equally your shadow do if it could slip the leash tying it to your foot. This line of research currently plays out in two strands of practice-based research. First, to look at the disruption of Shadow in the conventional dialectic of Figure and Ground. I could argue that Shadow is a more natural counterpart to Ground, these being both of the 2D world and because in painting or photography the Light that reveals Figure is practically limited by Shadow.

(3)Portrait of the Other 357

This direction of research means that I study the floor of the scene in great detail and how it responds to shadow and the surrounding 3D world of figure and its attendant narrative (4,5). The second strand is to try and move on the notion of a separate and individuated shadow: to shift awareness of Shadow on from the dread, the supernatural and the cod psychological into a reflection on Self and Other. It begins to explore notions of companionship (2) and the internal dialogue (3). This work is very tentative at the moment and is currently exploring techniques of unguided drawing with a laser pointer directly into long exposure photographic images.

(2) Hampshire_gothic 287b

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(4)Where shadows play 389


Aldobranti United Kingdom

(5) Residues of narrative 406

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//we have met the enemy and he is us

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â&#x20AC;&#x153;We carry our past with us, to wit, the primitive and inferior man with his desires and emotions, and it is only with an enormous effort that we can detach ourselves from this burden. If it comes to a neurosis, we invariably have to deal with a considerably intensified shadow. And if such a person wants to be cured it is necessary to find a way in which his conscious personality and his shadow can live together.â&#x20AC;? ~ Carl Jung

This photographic series meditates on the relationship between the shadow and the source, the ego and the alter ego, the conscious and the subconscious. The woods, the hills, and the water are metaphoric for the ambiguous mental landscape in which the internal struggle takes place. Double and triple exposures unsettle the notion of clarity by making the viewer doubt what is really there.

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The shadow is present in the lack of light. Although it is physically attached to its source, it may act independently if ignored. It is the alter ego. It holds reservoirs of the unconscious, the primitive, the dark, and the creative. Haruki Murakami uses this concept for his short novel, Hard Boiled Wonderland and the End of the World, where the shadow becomes a separate entity as it is cut off from its owner. Without the shadow, the person lacks memory, sense of oneself, and free will. Recognizing that marks the beginning of catharsis depicted in the images.

>>> Olga Sidilkovskaya Russia & United States

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//spasm This work is an attempt of finding a (des)personification by the movement. It is a reverse exorcism that aims to void my character and find a demon.

>>> Ana Rita Matias Portugal Ana Rita Matias (Portugal) is presently a Master student in Visual Anthropology at NOVA University of Lisbon. She traces her path in photography by exploring her relationship with the camera using that as a means to confront and extract herself. Likewise, she uses photography as an ethnographic means. Her work is experimental and focuses on a crash into her own, into others and between others.

I dissolve myself into space and light

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//streets of insomia

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Sleep deprivation can interfere with mental functions, and change your perception and state of consciousness. With my series 'Streets of Insomniaâ&#x20AC;&#x2122; I imagined the world of my Insomnia. Through my sleeping disorder I sometimes feel as if I live in a different world. Lost in thought, illusion.






These images show a poetic solitude which tells a lot about me and my experiences. To always go through life tired and with a lack of energy can make your days quite bleak sometimes, so converting it into a poetic world and to be able to put my creativity into it is very valuable to me.


The dreamy and almost surreal effects of this is what I try to portray in my work. The street images I used for these series are made on the route where I made several nightly walks while not being able to sleep. Because of the fatigue those walks would seem like a dream, especially when I would wake up the next morning and I would have to go through that same park to get to school. The alienating Insomnia was then mixed with reality. The confusion, the surreal and the loneliness is what I try to portray.

>>> Anne Paternotte Netherlands Anne Paternotte is a photographer born in 1990 in The Netherlands. She completed a film study and is now in her graduating year of her Bachelor Photography at the art acadamy in Breda. She has had several international exhibitions and publications and is now one of the 20 selected emerging new photographers of the International Photofestival Leiden.

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//4.48 and i’m still not sleeping “4.48 and i’m still not sleeping” is an analog 4x5" longtime exposure self-portrait of me sleeping. 4:48 is a reference to the work „4.48 Psychosis“ by the British playwright Sarah Kane.

>>> Rudi Rapf Austria Rudi Rapf is a Vienna-based photographer and artist. He was born in Kassel,Germany. He is currently studying at the Academy of Fine Arts, Vienna, at the Sculpture and Performance Department (Prof. Monica Bonvicini).

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//vystavit (wake up) Photo Description: Kodak TMAX 100, Mamiya RB 6x7, 90mm Photo Series: portréty konstrukce ‫پرتره های ساخت و ساز‬- portraits of construction

>>> Leigh Anthony Dehaney Canada Inspired by experimental work and grey moments in time, Dehaney has a deep affection for cultivating imagery that conceptually and thematically revolves around the notion of “When are we?”. His personal photographic and film works often incorporate elements of exploration, artifact and time. His personal practice/gallery work often depicts portraiture within an accelerated world, much of which has been largely influenced by unmarked visits to industrial Cuba, Eastern Europe and the Middle East.

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//la ura

Night Alone

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I have always seen the world in an architectural way where objects, body parts, and colors become shapes and forms. I use the photographic medium to visually join my body with an environment. I am inspired by places I have never been to because I love exploration and experimentation. In fact, a huge part of my inspiration for some of my selfportraiture comes from not looking through the viewfinder. A great deal of the time, creating selfportraits involves having trust in my camera and being excited by the element of surprise.

I use unusual angles and perspectives to alter perceptions of reality because I want to break the mold of typical portrait expectations. When I take selfportraits from the ground looking upwards, I search for only the most visually compelling surroundings overhead. I have found that organic and natural looking environments are the most exciting to photograph myself in because I become part of the world around me.

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I am a shy woman. It is fun for me to think about the surprise people feel when looking at this work based on the way I am normally perceived in the world. Selfportraiture allows me to showcase my true personality in public: what remains on the inside without having to act loud and exuberant all the time. On the outside, I almost always want to keep to myself and be quiet. Self-portraiture creates an outlet for more reserved people like me because it lets us prove that we are more dynamic and capable of an abundance of emotions, despite what otherâ&#x20AC;&#x2122;s preconceived notions may be.

>>> Laura Knapp United States Laura Knapp is a recent graduate from the New England School of Photography in Boston. Laura previously studied at Bennington College in Vermont until 2012, but left after two years to learn as much as she could about photography. Images from her self portrait project "La Ura" have been featured in exhibitions at Black Box Gallery in Portland, Oregon, The Kiernan Gallery in Lexington, Virginia, as well as Photo Place Gallery in Vermont and the Photographic Resource Center in Boston. La Ura is a never ending project that Laura started in high school and plans to continue for as long as she possibly can.

Soft Blue Shadow

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//a work-in-progress in research of incubation space â&#x20AC;&#x201C; an interactive performance game/ installation >>> Jennifer van Exel* Netherlands

Lately I have been interested in Buddhist views on the ego and the absence of ego, or selflessness as both a practice of being kind to others and as a state of existence, a manner of being in this world, what as a human being do you manifest and represent? I start this essay, or short story, from the explication: 'The real Self is no self'. I donâ&#x20AC;&#x2122;t recall who said this, but considering the subject, I don't think it matters much to know who did. 'The real Self is no self' To comprehend something beyond a Self as a Subject in this world, a non-human perspective could be taken on. Not to say that the more you zoom out on subjects, on humans, the more universal similarities can be recognized, surely this may be the case, but also one loses the thrill of seeing one's personal world as all-encompassing the universe. The ego centralizes a point of view, in my case for instance that of a 24 year old woman with the ambition to encounter the world around herself in a playful manner. A Subject-position is born, literally born into the world. The world is as such multiplying the amount of subject-positions, and in this way the amount of visions on what the world might mean,

might be, might offer. The world with every subject born, increases the modes of existing in a certain manner, the world evolves itself by having us subjects reinvent what it might mean. This is a very philosophical way of thinking about an allencompassing Subject 'World' that zooms out beyond a single viewpoint of one subject-position. The Buddhist teachings I have attended over the course of this last 6 months have made me wonder about the practical implication any philosophical idea has. Meaning that an idea is not separate from a brain, from a body. So why would we consider thoughts to be empty, disconnected phenomena? Disconnected from practical and physical chains of action and reaction. The thoughts I have about a situation my body is in, that I am in, effect very much the meaning of the occurrences happening therein. And the way my body is affected by those thoughts makes me behave, instinctively, in a certain way, to posit my body, myself, in a certain role or position. The body I, the thoughts of I, and the situation that I am in respond to one another in a process that is much more tangible than how we usually think about thoughts, as ephemeral phenomena.

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I like to think performing thoughts, performing affective reactions to thoughts, and the other way around also, being affected by others' thoughts, and the affective response to situations you encounter that inform your thoughts about that situation or encounter, collides in the notion of presence. This process exists by means of it being in existence. I like to think there is no inside and outside of the body existence. The body existence is a concept, a term, I will put to it. And I can explain. By saying that there is nothing making a divide between inside and outside. Not of inside and outside one's body, as I just suggested, the body and thought not being separated from each other by means of them both existing at the same time, both being in existence - and not of inside and outside of existence itself, because when one is not present, one is absent, and therefore one still always is. Now this is very much possible when one knows the subject, one then knows what or who it is that is present or otherwise absent. But when one has not encountered or even thought the subject in question could be present of absent, where is it, or where does it go? It is quite like imagining yourself performing an action that takes a good amount of practice, when you visualize yourself doing it, performing this action becomes less impossible. It becomes a possibility for a future action.

If we look at the body world as a possibility I find it quite comforting. There is no failure or success, only action. And every action can be reimagined, so there are no rules to playing with your interpretation. I suggest to see the subject of self, which dissolves into the idea of the body world as subject not as a disembodiment, but much more a re-embodiment. A reincarnation of life, through life, through thought, through presence. I have not studied Buddhism a lot. But I recon there is a great possibility of putting these lines of thought into daily practice or performance practice. To play with your interpretation and to have this change the colours, the meaning, of that what you see around you, opens up the world in new creative ways for us to engage with it and for the world as a body existence to be engaged with. *My name is Jennifer van Exel. I am a Dutch interactive performance designer. I graduated as a performance scholar and I am working as a dramaturge and performance artist. I make interactive performance work that is in between performance installations and game-play. My interactive performances touch upon philosophical dilemmas and have the audience fill in the narrative gaps of my performance. The performance-game serves as a structure, a context. The audience determines what happens. I investigate what it means to interact in a social context via gameplay with these existential topics.

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//circle of transient realms

Blind Spot

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My work takes a critical view of societal, political and cultural issues, focusing on identity, gender binary and the human mind. Reflecting the emotional dimensions of personal memories, collected histories, and cultural myths, I constantly search for new possibilities, thriving on chance outcomes and the connections (physical and virtual) that link nature and the overlooked realities of our lives. As an artist concerned with real life stories, I am affected by those with untold, sometimes overwhelming, hidden perspectives. These themes are often combined into experimental installations, employing different techniques which include: video, sound, photography, installation and site specific art. I am a curious artist using diverse exploratory technics, all of which I self produce. My practice seeks to establish dialogue, exchange critical perspectives and generate sometimes uncomfortable questions. My goal through my work is to express my interpretation of the world around me and tell stories that evoke a sense of wonder and fascination. Inspired by repetitive dreams and underpinned by memories, driven by my understanding of the female conditions and the manifestation of injustice in patriarchy, the issues Altered Mind

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of woman's social and sexual conditioning have all formed the foundation of my current work. Surreal quality images, revealing glimpses of potential possibilities, what latently exists in nature, suggesting different views of our external world, inviting the viewer to move into a space of speculation.

>> Derya Edem United Kingdom & Turkey

Mirror and Cat

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//need //need

I grew to feel that all I had to hold on to was myself. And that was all I'd ever need. It would inevitably be enough.

>>> Arushee Agrawal India I'm a fifteen year old from India. Since I can remember, I have used various forms of art, especially visual art, as my voice. I aim to express what I see and what I feel to others. I aim to pursue visual art after high school. Multiple exposures have always appealed to me as a change from static art. I want to show movement that can move people.

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//eye is the most faithful mirror When we can cover lies with anything but not with staring eyes, our identity, feelings, emotions, all will be obvious to the eye.

>>> Utami Dewi Godjali Indonesia Utami Dewi Godjali was born in Jakarta, Indonesia on October 16, 1984 with the nick name "Memi". She currently works as a freelance photographer and has attended several joint exhibitions in Indonesia and the Netherlands. Her work is based on personal experiences and other forms of diaries, play in the imagination, reality, and dreams, all three seemed to be vague in my life. "White Box" a safe place for my contemplation.

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//before yourself

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Objectification of a person is only possible if being secondary is tolerable by that person. Using an impersonation instead of the real self damages a person’s meaning of existence. In this work, suppression of the real self and the seizure of the connection and control by reflection is expressed.

>>> Çağlar Uzun Turkey Caglar Uzun was born in Ankara(capital city of Turkey) in 1977. He was graduated from the Mersin University in 2000. He successfully completed his Phd thesis ”selfcriticism in art” in Hacettepe University in 2009. He had participated in a biennial( Lulea, Sweden) He won 2 major painting awards and 2 solo exhibitions. He is an assistant Professor in Bulent Ecevit University, Faculty Of Fine Arts, Department of Painting since 2009.

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This double exposure work is inspired by my bond with trees in Cairo, city of concrete, as they call it. They are double exposures of the self and neighbour’s trees. Trees are one of the things that still remind me of how “nature” works in a city – they don’t have strict lines, they grow wherever they like, however they like, they don’t collect their fruit or seed in a basket or a bank, and any is welcome to live under their shades.

>>> Mahmoud Khattab Egypt

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//non-titled >>> Noel Villa* Philippines

I So here I sit face to face with yet my life's toughest challenge. That is, to tell a story that isn't about me, for you see I've already failed. I think we're all aware of the difficulty of separating our mind from the real world (note that I used the word “difficulty” instead of “impossibility” [for we are facultative parasites like armillaria, which can live independently of the host-tree called life {esoteric reference c/o The Free Encyclopedia}] note that I used the word “real” instead of “physical,” [for I know that every rock and tree and creature has a yadda yadda {don't sue me; I declare fair use}] note that I referred to myself eight times in a story I swore wouldn't be about me [don't even bother counting; we're all going to get very different results] note that we are nine-ish lines in [that depends on the publisher's format for page layout] and we've discovered two things so far: one, my insufferable habit of stalling and two, my propensity to act on the pretense of being an intellectual with a vendetta against casual diction not to mention proper use of // caesurae and “punctuation,”.) and I've lost my original train of thought after that huge chunk in parenthesis but know this: a raven is like a writing desk 'cause I shall write about myself nevermore.

II I lied. I’m a writer. That’s what I do. Here I am on this earth, trying to make something I could call worthwhile and what is a work of art but an arrangement of things inside me, which were once parts of something else, which were once parts of something more distant, more primeval? The author is authored is authored is a rose is a rose is a rose, and the human condition is this beautiful burden we have locked up inside our minds, how golden its warmth of day, how frightful its lightless night, and it would only need a shattering of shackles to let it run wild. And then there's us: Humans beings. Homo sapiens sapiens. Despite all the beauty we are capable of we still manage to come off as living proof of God's biggest disappointment. And now I bet he's at the local celestial pub, sitting right next to Krishna, chugging a brewski, and drinking off his worries for having created a race so powerful, so much in his image and likeness that it grew up to be much stronger than He.

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III My ego is the universe. I reach into myself and squeeze out the world, behold! This globe is too wide for my ribs, too heavy for my lungs, exhale only when there's time, but no clock can stop the smoke, so bre—athe. I can only have that much room in my lungs. There was a metaphor here somewhere but it's hung over the text like Joyce after a night of shots; cock the barrel of the bottle and bang-bang-bang till my feet do the same; and bangbang-bang all night long. IV The world is my stage. Scream! Scathe! The producers have withdrawn their funding! The director is canoodling with the playwright! My prompter's lost her cue cards! My fans are stuck in traffic! Improvization is all I have and can do. Razzmatazz! Shilly-shally! Supercalisomething-something-satan-is-precocious! I am alone. I can’t be certain anyone is listening and I can think that all this is for naught but I look beyond the drapes and find that I'm in an abandoned Warner Bros. Sound Stage of universal proportion. There are other miniature stages just like mine, every one of them populated with their own unique one-man play. I wave at a nearby friend half a stage across from mine and he waves back but promptly returns to his protracted spiel. Who knows who he's talking to; the creator of the

Sound Stage has long since left. Our stages don’t belong to us; they have been owned by whoever came before us. These stages were built from the materials of the universe. I break the fourth wall because there is a part of me that wants to know you. It wants to see you and hear you and touch you and it hopes I'm just as real as everyone else. V This text took a turn for the worse. It's not what I wanted it to be. I had hoped to discuss loneliness and fungi and spirituality and sexual drives and rebellion and intertextuality and pop culture and phenomenology and pretentious topics and thespianism and didacticism and made-up words and irony and illegal drugs and innuendos and internet culture and linguistics and the concept of love and bad puns and narcissicm and stream of consciousness and sarcasm and breaking conventions and abrupt endings. * Noel Villa has a bachelor’s degree in Literature and he doesn't know what to do with it. He writes, hoping it may give answers. He has worked for a few folios and zines. Eleven of his short stories have been published. In his spare time, he likes to say things.

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[the fetishized self:] phantasmagoria, role-playing, and imag(in)ings

consumed by imagination Dawn Woolley (UK) laundry series / dressing, pinning and folding Teresa Ascencao (Canada) glass houses: self-portraits in a moving mirror Kalliope Amorphous (USA) true in my fictional world Katrina Stamatopoulos (UK)

carnival Petra Brnardic (Croatia) coexistence Sana Ghobbeh (Iran) space(s) Alonso Tapia-Benitez (Mexico & USA) scorned Libby Kay Hicks (USA)

pacifier Dawn Woolley (UK)

pris unit Agent X (Canada)

blind land Gaspard NoĂŤl (France)

sides Rina Dweck (USA)

never naked Florian Tenk (Germany)

mugshots Yoko Haraoka (Japan & USA)

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//consumed by imagination >>> Dawn Woolley United Kingdom

‘Warmth is ebbing from things. The objects of daily use gently but insistently repel us. Day to day, in overcoming the sum of secret resistances…that they put in our way, we have an immense labour to perform. We must compensate for their coldness with our warmth if they are not to freeze us to death, and handle their spines with infinite dexterity, if we are not to perish from bleeding…And in the degeneration of things, with which, emulating human decay, they punish humanity, the country itself conspires. It gnaws at us like the things.’(Benjamin, 1997/1928 : 75) This essay aims to investigate the meaning and power of commodities and how they act upon us. Marx suggested that modes of production within capitalism offered us the promise of the naturalization of humanity and the humanization of nature but resulted instead in the mechanization of both (Marx and Engels, 2011/1844). They turn us into things that consume and are consumed. Through the consumption of commodities we improve our commodity appeal. Bodies produce display-value; we work at them so they work for us. Benjamin warned that we could be contaminated by the coldness of the commodity – but he also saw revolutionary potential in the cast-off detritus of capitalism. He suggested that dialectical images could make the illusory nature of the

commodity apparent; they could startle us from our semi-conscious slumber (quoted in Buck-Morss, 1991). In this research I ask myself, how could this body, as a consumer of objects and an object of consumption make visible a protest against the system that has constructed it? I look for answers in the theories of the fetish – from Marxism and the “theological capers” of the commodity to psychoanalysis and the displacement of sexual satisfaction from the animate body onto inanimate things. Perhaps it is not a coincidence that Binet wrote the article Fetishism in Love, an early account of sexual fetishism, in 1887 when commodity culture offered the promise of material wealth for all – equality through objects. In Binet’s account, female bodily adornments featured prominently as fetishes (quoted in Matlock, 1993). At this time the industrialization of clothing industries had led to an increasing standardization of dress. Garments were mass-produced, and so were the bodies of the people who wore them. Benjamin was particularly interested in fashion because he saw it as the medium that lured sex ever deeper into the inorganic world and the living body into the ‘realm of dead things.’(quoted in Buck-Morss, 1991: 99/100) The cold touch of the commodity literally pressed against the skin and the body succumbed to the ‘biological rigor mortis of eternal youth (quoted in Buck-Morss, 1991: 99/100)’. Psychoanalysis might also consider a devotion to constantly changing fashion to be an unconscious denial of death – or loss of any kind – because items of clothes can be bought, exchanged, worn and discarded. It could suggest that acts can be undone, so damage does not take place and nothing is truly lost. If death, or entropy could be supplanted onto clothing,

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Benjamin thought that fertility and sexuality were also displaced onto the commodities. The ‘profane glimmer’ of the commodities surface, conceals the emptiness within. The body itself becomes a window display for commodities - a collection of signvalues. The commodity fetish dazzles and conceals, it draws attention to the surface in order to suppress knowledge. In psychoanalysis knowledge is both acknowledged and denied in the unconscious creation of a fetish. The threatening nature of the whole body is negated through fragmentation or displacement. It is unconsciously thought to be unpredictable to master it, it must be dehumanized, deadened and turned into a thing. The sexual fetish offers a reduced, compromised form of satisfaction, but it is also its guarantee, because it ‘protects the subject from the worlds non-conformity to desire’s high expectations’ (Gemerchak, 2004: p9). In Binet’s discussion of fetishism, there is an implied connection between perversion and the commodification of the body. He says; one might say that every adornment and ornament that woman has invented, everything she has imagined as pretty, curious, bizarre and extravagant…has been able to become the occasion of a new fetishism…who can enumerate all the madness caused…by the violent brilliancy of a painted face? (quoted in Matlock, 1993: p39) He goes on to say ‘love, instead of being excited by the whole person, is now excited only by a part. Here the part substitutes for the whole, the attribute becomes the quality.’ (quoted in Gamman and Makinen, 1994: p39).

The sexual allure of the body is displaced onto the commodities adorning the body. A concentration of meaning seems to take place, and the objects used to decorate the body are bestowed with hyperbolic sexual characteristics, transforming them into sexual fetishes. The commodity fetish provokes desire and the sexual fetish partially satisfies it. They coalesce around the body, creating a double disavowal – an unconscious determination not to know, enclosed in surrender to a world of objects. The sexual fetish is both particular and repeatable – as long as the correct type of object can be found the fetishist will be satisfied. In the world of mass production fetishism could be seen as an ideal perversion. As an example of a body as a commodity and a sexual fetish I refer to the case-study of Olympia as recounted by psychoanalyst Robert Stoller (1985). Olympia was a stripper and pornography centre-fold who seemed to display a fetishistic dissociation of her own body, she turned it into an object for the pleasure of others. Olympia regarded her body as a commodity – a saleable item – and she produced its surface to maximise its appeal. Using commodified tropes of sexuality she crafted her surface through pose, props and gesture, modeled on the desire of her viewers. It was a separate object, worn like an outfit, or perhaps a disguise. Her chosen name places her within the canon of art history and the history of bodies for sale. But I find her resemblance in another Olimpia; the beautiful automata in Hoffman’s tale The Sandman (1816/1967). Olympia the automata is a perfect fetish; her beautiful surface distracts attention from the mechanics within. In The Sandman Nathanael catches a glimpse of Olimpia but only from a distance. He is only able to regard her closely when he looks through a magnifying lens.

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He is dazzled by her beauty but perceived ‘a singular look of fixity and lifelessness’ in her eyes. This only concentrated his looking, which eventually transformed her lifeless expression into ‘a light like humid moonbeams’ (Hoffman, 1816/1967: 203). He was deceived into thinking that his desiring look was reciprocated. The fixed view through the lens enabled him to regard her closely but the real distance between them served as a space in which his expectations could heighten his delusion. The centerfold image of Olympia the stripper could also act in this way; creating a deceptive closeness and the illusion of the collusion of desire. Nathanael believed that Olimpia the automata returned his look – a look that humanized the machine and suggested that his desire would be fulfilled. The viewer of Olympia the centre-fold might bring the commodity to life with their desire. The indistinct lure of the commodity conceals that the desired object is the commodity itself – the disguise and not the body that wears it. The viewer is lured into a fetishistic form of sexuality. In turn, the partial satisfaction afforded by concealed sexual fetishism creates the illusion of a satisfying commodity, a thing that produces pleasure, in and of itself. This form of self-fetishisation seems to regulate the expectations and desires of others. It pacifies and offers a compromise. It is fundamentally reductive but the consumer is also reduced in this process, to a passive, predetermined form of desiring being that can be packaged and reproduced. The image is seamless – a commodity fetish which conceals a sexual fetish which in turn conceals the commodification of desire.

When describing the dialectical potential of Surrealism Benjamin suggested that the montage’s power lay in its un-reconciled and disharmonious elements, which contradict each other simultaneously expressing utopian idealism and its cynical denial. (Buck-Morss, 1991). This account of the body as a commodity and a sexual fetish doesn’t offer much hope for rebellion, or the shocking awakening Benjamin sought. It colludes in the system that further fragments and commodifies the body, and other people’s relationship to it. But perhaps the fetish offers other forms of contradiction. In an early account of fetishism, ‘On the Genesis of Fetishism’ (Rose 1909/1988) Freud outlined what he thought was a prevalent form of female fetishism. In this short-lived theory of the fetishistic nature of self-display, Freud described how most women experienced exhibitionism - the unconscious desire to display the body. The desire is repressed and the body is concealed within clothing. By covering up the object that drives exhibitionistic desire, the clothes are elevated to the status of a fetish. The body is concealed but the elaborate and beautiful nature of the garment courts the gaze. The commodity fetish fulfills its role as a dazzlingly surface, and the sexual fetish offers a compromised form of satisfaction in the attention that the outfit brings to the body. However, Freud’s theory of female fetishism wasn’t formulated to understand why women were so preoccupied with making themselves attractive through consumption. Those forms of satisfaction were unproblematic. Instead Freud asked; why do some women follow the latest fashions so blindly that they wear unbecoming clothes? He said; For them, clothes take the place of parts of the body, and to wear the same clothes means only to

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be able to show what the others can show, means only that one can find in her everything that one can expect from women…Otherwise, it would be incomprehensible why many women, following the demands of fashion, also want to wear, and do wear, pieces of clothing which do not show them to their best advantage, which do not suit them. (quoted in Rose 1909/1988: 55) The choice of clothing doesn’t achieve the expected transfer of characteristics, the glimmer of the commodity doesn’t wrap the body in surface appeal and the sexually satisfying nature of the body isn’t been displaced onto the fabric of the object. It falls short of both allusions to satisfaction, the false one of the commodity and the compromised one of the sexual fetish. Freud was struck by the appearance of these women, they commanded his attention and perhaps prolonged his look, but it didn’t occur to him that the nature of the look had changed. The clothes had disrupted his attraction to their bodies, not by concealing it, but by creating an incongruous image. The nature of his gaze had also been transformed from a sexually driven one into a sartorial one. Ordinarily, the fetish clothes would provoke curiosity, attracting attention to what couldn’t be seen, increasing the energy with which the unseen object was pursued. However, the unbecoming clothes fetishist interrupted this desire to see beneath and ultimately caused it to dissipate. Unlike the image of Olympia, which confirmed the expectations of the viewer by embodying the appeal of the commodity-fetish, the unbecoming clothes fetishist disrupted the surface appeal of the commodity. Because the fashionable clothing enabled her to ‘show what the others can show’ reassuring the spectator that ‘one can find in her everything that one can expect from women’ she appeared to adhere to prevalent norms but

ambivalence could be read into the way she fetishised and commodified her body. By breaking expectation and creating disharmony in the image she has constructed, she seems to have created a change of state in the viewer. Bibliography: Benjamin, W., Jephcott, E., Shorter, K., 1997. (1928) One-Way Street, and Other Writings. Verso: London and New York. Buck-Morss, S., 1991. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. MIT Press: Massachusetts. Gamman, L., Makinen, M., 1994. Female Fetishism: A New Look. Lawrence & Wishart Ltd: London. Gemerchak, C.M. (Ed.), 2004. Preface, Everyday Extraordinary: Encountering Fetishism with Marx, Freud and Lacan (Figures of the Unconscious). Gemerchak, C.M. (Ed.), Leuven University Press. Pp7-12 Hoffmann, E.T.A. The Sand-Man, The Best Tales of Hoffman. Bleier, E. F. (Ed.) Dover Publications Inc.: New York. Marx, K. and Engels, F., 2011 (1844). Economic and Philosophic Manuscripts of 1844. Wilder Publications: Virginia. Matlock, J,. 1993. ‘Masquerading Women, Pathologized Men: Cross-Dressing, Fetishism, and the Theory of Perversion, 1882-1935’ Fetishism as Cultural Discourse. Apter, E., Pletz, W. (Eds.), Cornell University Press: New York. Pp31-61 Rose, L., 1988. (1909) Freud and Fetishism: Previously Unpublished Minutes of the Vienna Psychoanalytic Society. Psychoanal Q. 57, Pp147–166. Stoller, R.J., 1985. Observing the Erotic Imagination. Yale University Press: New Haven and London.

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//laundry series / dressing, pinning and folding


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capture the unnoticed moments and relationships between clothing and the human body. These are missed moments, known only to the body and the clothing ~ fleeting existences, continuously dissipating. In the Dressing component of The Laundry Series, I capture myself through second-long automated exposures, during rapid and frantic stages of dressing and undressing, with multiple layers of dirty laundry. While the works push against fashion, femininity and beauty norms, they also capture the unnoticed fleeting relationships between clothing and the human body. The series hovers between sensual play infused with femininity, and frantic dances with the clothing to diffuse that very identity. These images are currently being transformed into a slideshow video format, with music that escalates from sensual to frantic.

Inspired by the freshly washed bed sheets and undergarments in calm after the wash (Maria), I have been developing a new body of work entitled The Laundry Series, whereby I photograph myself in various interactions with dirty and washed laundry. The Dressing, Pinning and Folding components of The Laundry Series are seen below. The three components explore personal identity through clothing and body language, as well as

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The Pinning component consists of photographs of myself pinning washed laundry and then pulling them back off the clothes line. These were performed and shot in my motherâ&#x20AC;&#x2122;s backyard.


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Folding is made up of images of myself folding and unfolding freshly washed laundry. I took these photos in the garden courtyard of my apartment residence.


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>>> Teresa Ascencao Canada Teresa Ascencao has been using photo-based mediums and interactive technologies to explore how folk and mainstream culture shape gender and sexuality. She was born to Azorean parents in Sao Paulo, Brazil and immigrated to Canada at a young age. She holds a Graphic Design Diploma from Humber College and graduated with distinction from the University of Torontoâ&#x20AC;&#x2122;s Honours Fine Art Studio program. Ascencao holds an MFA specializing in Media Art and Sex-Positive Feminism from OCAD University. Ascencaoâ&#x20AC;&#x2122;s work has been exhibited widely in Canada and internationally. She lives and works in Toronto and teaches at OCADU.

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//glass houses: self-portraits in a moving mirror

Butterfly, Framed, and Dried

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Hear No Evil

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Glass Houses is a series of self-portraits exploring the malleability of identity through the use of flexible mirrors. Through the distortion of my physical form, I explore the fragmentation of identity as well as the hidden self which is often underlaid beneath the facade of our physical exteriors. In this project, I confront questions of self-image and the ways in which our interior worlds conflict with our exterior form.

might they look like?

How does the image that we present to the world differ from what we see when we look in the mirror? If our desires, fears, secrets and vulnerabilities were manifested physically, what

>>> Kalliope Amorphous

To create these images, I capture split-second deconstructions of my own reflection by manipulating flexible mirror boards made from polyester film. The light and color sensitivity of the surface is similar to water, creating a reflection which passes through countless configurations in a fraction of a second.

United States Kalliope Amorphous is a visual artist best known for her extensive work in self-portait photography. Assuming the roles of model, stylist, and photographer, she uses her own image as a prop to create the protagonists of her visual stories. A self-taught photographer, Amorphous creates her own alternative processes and methodologies using handmade and alternative lighting as well as experimenting with textiles, surfaces, mirrors, and incamera distortion techniques. Much of Amorphous’ work uses reflections, blur, mirrors, and multiple exposure to lead the viewer through the artist’s favorite themes — identity, mortality, time, and consciousness. In addition to self-portrait photography, Amorphous continues to explore various forms of experimental photography and alternative processes in creative, conceptual, and new media. Kalliope has received worldwide recognition for her work in conceptual photography and her photographs have been published and exhibited throughout the United States and internationally. She currently divides her time between Providence, Rhode Island and New York City.


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//true in my fictional world

Mirror Gazing

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My fascination with mermaid objects has stemmed from an interest in water environments. Developed through a collective process of mythology, fiction and popular culture, mermaids have become integrated in our understanding of the sea through stories, belief, hope and imagination. Collecting mermaids on Ebay, I try to find a variety of characters that possess individual traits and purposes. Whether they have been used as ornamental figurines, fishing lures, or fish tank bubblers, I find new fictional homes for these objects through a process of scanography and digital collage. Without identifying time and space within the landscape, each mermaid is isolated in its own imaginary terrain.

Hooker Girl

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Exploring themes related to â&#x20AC;&#x2DC;self as subjectâ&#x20AC;&#x2122;, each mermaid character is disengaged from its intended context and is placed within a new and unfamiliar territory. Searching for diverse connotations and moods, these characters allude to the ever-changing situations and phases we may encounter in our own becoming. Whether or not it is an emotional, psychological or physical shift, change within our selves can be an illusive and overlooked occurrence that is explored through fictional characters and realms.

>>> Katrina Stamatopoulos United Kingdom


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pacify (v.) late 15c., "appease, allay the anger of (someone)," from Middle French pacifier "make peace," from Latin pacificare "to make peace; pacify," from pacificus (see pacific). Of countries or regions, "to bring to a condition of calm," c.1500, from the start with suggestions of submission and terrorization. Related: Pacified; pacifying. Pacifier considers the process of sexualisation in consumer culture using sweets, sex toys and nail art practice dummies. Sexualised commodities transform the consumer from a living breathing sexual body into an erotic spectacle â&#x20AC;&#x201C; a surface appeal without substance. Decorative and sexual characteristics efface the other aspects of the body. The commodity-body is fragmented into erotic signs and transforms those who covet it into passive, distracted erotic consumers. The objects in Pacifier are inanimate and bodily; abstractions and simulations at the same time. They are inhuman and yet contaminated by flesh.

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The vignettes can be read in terms of classical portraiture or, more disturbingly, as the beheaded trophies of a hunter, implying that the subjects suggested by these still life portraits are victims and decorations as well as sex toys.

>>> Dawn Woolley United Kingdom My artistic practice encompasses photography, video, installation and performance. I use photographs of objects and people to question issues of artificiality and idealisation. My artwork forms an enquiry into the act of looking and being looked at. Referring to psychoanalysis, phenomenology and feminism I examine my own experience of becoming an object of sight. Voyeurism, exhibitionism and desire intertwine as I attempt to disrupt relationships of power in purposefully provocative scenes.

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//blind land

The pointless premonition

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On the dragon's belly

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The autophagic round

A unicorn galloping in a windmill field

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I have been making self-portraits since I was 15 years old. Back then, I used to dress up as a warrior in my room while my parents thought I was doing my homework for school. I went on doing this for 9 years until I graduated from a business school. The day I received this degree, I neatly put it away in a drawer and took a firm decision to never take it back out. This was five years ago. Five years during which I did nothing but work on my

The omnipresent microcosm

photographs and the philosophy behind them. I will be 30 years old next year and there are many things I still do not understand, about life, about being human, about what humanity tries to achieve … about so many subjects. These uncertainties … political ones, social ones, human ones, metaphysical ones … I try as hard as I can to put them in my photographs along with every hint of a solution I sometimes think I have stumbled upon.

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After so many years taking photographs of myself, body and soul, I have stopped considering my pictures as self-portraits. I do not see “me” anymore … I see “a man”. I gradually overcome my identity and by doing so, I reach a wider realm, a wider meaning. “Oh madman who believes that I am not you” wrote Victor Hugo.

The ludicrous race

Each and every one of us shelters inside him the entirety of what makes the humankind. A blessing and a curse assuredly for humanity is always simultaneously exceedingly admirable and horribly despicable. In this series of photographs, which I called “Blind land”, I try and tackle the complexity of modern society and how it leaves us – citizens, in a state of permanent perplexity.

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Who’s right? Who’s wrong? Which numbers are legit? Which ones are invented? We hear every day so many different opinions about so many different subjects it gets incredibly hard to decide by oneself what matters or what deserves to be fought for. The worlds of media, of politics and of economics creates this smokescreen, this blindfold, around our heads willingly or just by its sheer intricacy. And is it not just the color of our respective and fortuitous blindfolds that creates all the inability to understand and accept our own kind? How else could we explain the fact that we keep shooting at mirrors?

>>> Gaspard Noël France

The ideal war

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//never naked

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In my work I mainly try to focus on people. Catching their feelings, their movements, their inner beauty is still very interesting. My photos are often an attempt to reveal how people handling their body, sexuality and social-culturalidentities. The pictures are from three different series; over all ever series includes more single pictures.

Victor Vanishing

Self Portrait with Death in the Hands

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Headless Max

>>> Florian Tenk Germany Living and studying in Munich, Germany; Florian Tenk studies at the local Academy of Fine Arts since 2011. Emanuel in Disguise

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Hollywood Hell

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Black Beauty

Carnival is a series of digital collages where I explore the liaison between Eros and Thanatos, splendour of playfulness reminiscent of pagan rituals, magic world of surreal and hybrid creatures and all the faces of feminity. I glorify fertility, creation, metamorphosis, abundance and fresh blood of life that runs away from the grasp

of death and decay. Psychedelic, trippy, hallucinant aura and more extrovert savour is radically different from the monochromatic darkness of my drawings, which are representants of the pondering into psychic depths.

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In each collage there is a female, martyr, queen or goddess, or some archetype, and that woman or girl represents my alter-ego, and with vivid clutter of other creatures, mostly women, wild animals and mythical beings represents all the facets of myself. In that alchemic process I try to mix ancient with contemporary, realistic with fantastic and dreamy, and collective subconscious with my own Id and personal history and emotional struggles.

>>> Petra Brnardic Croatia In my work I'm exploring themes like identity, sex, gender, feminism issues, as well as myths, religion, psychical archetypes, psychology, various emotional and mental states, and subconscious in general, ergo mixing socially and politically more relevant issues with intimate narratives, self-analysis and introspection. And doing so, I prefer bold, dramatic and more raw expression. But, when I deal with drawing medium, I engage in different styles, according to my momentary feeling: from intricate and detailed work that borders with visual stream of consciousness and hermetism, to clear, distinct, illustrative, descriptive and explicit stuff.

Nuclear Love

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This project (coexistence) is a staged photography around the notion of identity. The colorful fabric which I use refers to the traditional Hejab religious women wear in Iran. I tried to express a new approach to this notion when the denial of the body and women's body in particular become an obstacle on my way encountering my identity.

>>> Sana Ghobbeh Iran I am a visual artist currently working as an art researcher at Ume책 School of Architecture. I achieved my Masters in Fine Arts at Ume책 Academy of Fine Arts/Sweden. I am the invited artist to the research project "resurrecting the Chora" which is part of the research environment relational architecture at Ume책 School of Architecture (UMA). In 2013 I took part in the NEU/NOW festival, financed by the European Union and the ELIA organization (in Amsterdam, Netherlands), being the artist chosen to represent Sweden.

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a void within the image to re-contextualize the subjects and materials being represented in the imagery. By taking something that has no other meaning besides a commercial one and recontextualizing it to explore my own identity; I worked through my feelings of identity and inadequacy via the language of advertisement and collage, mediums that are very closely related. The collages relate to the theme in the sense that I am trying to reconcile my personal feelings of my identity with images that are presented to me of who I am supposed to be. By taking these images back and molding them to my own creative process, I am reclaiming my identity and moving past the feelings of inadequacy and emptiness.

>>> Alonso Tapia-Benitez Mexico & United States

These collages are an exploration of my identity, or lack thereof, using advertisements cut out from magazines. When I was making the collages I was looking at many advertisements and thinking about how these items or things that the companies were selling related to me. I find that many times the images that are presented to us on a daily basis are meant to make us strive for a perceived higher ideal mixed with feelings of inadequacy and a longing to purchase and participate in a widely commercial society. When I see these advertisements I feel a huge sense of emptiness and loneliness, both for the person buying the products (me) and the people and items that are being sold. I explored these feeling by inserting

I was born in 1990 in Toluca, Mexico. My family and I relocated to the U.S. in 1993 to Houston, Texas. We moved around to various parts of Houston while I was young, in total I was enrolled in 3 different school districts and attended seven different schools. My identity as a child and as an adult is mixed and varied. I have seen the inner city and the suburban. I finished high school in the suburban city of Tomball and quickly decided to transfer to the University of Houston to study Photography and Digital Media. It was here that my life was dramatically changed and influenced. Although I was interested in photography, I soon became more interested in performance, appropriation and installation art practices, all of which are helping me reconcile and work through my feelings of displacement and dis-orientation.

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Scorned, 2014, mixed media on stretched fabric

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I am overwhelmed with mental imagery that comes from personal comprehension of daily life as a woman. Fiction or non-fiction, my work is based upon spoken (and unspoken), relatable plots between gender roles and setting them in a space. This imaginary space is created from memory using color, texture, and symbolism to recreate scenes of very personal emotion. Taking inspiration from years of writing journals, reading memoirs, analyzing gender roles and the rapture of going from teenage party girl to reformed feminist domestic. From absorbing the stories of the world around me, I feel the craving to express my own experiences, but not without apprehension. The uneasiness comes from the privacy of inward thoughts being placed on display. As well as my awareness of the controversial issues debated within the content of work. I am especially inspired by third wave feminists, pop culture vs. traditionalism, and relationships. Through symbolism paired with color psychology, mixed media, and personal revelations; these infinite narratives beg for acceptance, reliability and most of all, change.

Do not let them eat the cake, 2014, oil on fabric

>>> Libby Kay Hicks United States Libby Hicks (b. 1992) was raised in Floydada, Texas and currently lives in Lubbock, Texas with her fiance and pets. Hicks spends most of her time in her studio and doing independent research for the content of her paintings. She is also a member of Tech Feminist Majority Leadership Alliance and advocate of the #heforshe campaign. Hicksâ&#x20AC;&#x2122; art has been in national publications and sold nationwide as well.

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//pris unit

>>> Agent X Canada Agent X creates experimental, multimedia collages, paintings, and 2D artwork. His work is an amalgamation of diverse cultures, past, present and future, and his signature collage street intellectualism is a commentary on the urban experience. The phenomena of pop culture, technology, fashion, music, politics, and race are central to his practice of designing experimental works. Based in Vancouver, Agent X grew up in Connecticut and studied in New Haven and Atlanta. He was the top recipient at the Curious Duke Curious Pie Show, and he has been a finalist in numerous prestigious art contests. Agent Xâ&#x20AC;&#x2122;s work has been exhibited in art meccas all around the world, including London, New York, San Francisco, Spain, and Toronto.

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//red zone aka yellow rage aka manifestation I interpret and distill my experiences and journeys through the medium of collage and paint. Using a combination of found papers and cutouts, dye powder, and oils, I create and alter image and form. As a woman, as part-Chinese, and as part-white, I am fueled by my many identities to explore topics of masculinity, femininity, contradictions, the absurd, and the whimsical. Intentional destruction and creation of paper to create new images is a process of finding and identifying myself. I am interested in deconstructing and reconstructing the content of my identity, without masking any coexisting form of my terrible and wonderful self. The other day I wondered, have I ever even seen my own asshole? I was raised in Philadelphia, PA. I have lived and worked in Washington, DC for six years.

>>> Sarah Bell United States

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Rina Dweck is a multimedia artist whose works confront the self-portrait, examining the ways that identity can be simultaneously stagnant and changing. A trained painter, Dweck transforms her own face into a canvas that she approaches with new fervor over and over, adding and removing props and disguises. Her works explore how one face, be it made up or plain faced, can exude diverse meanings. These painted canvases also suggest a 3 dimensionality, as documents of sculptures to which Dweck adds various regalia. Dweck views the photograph as the capturing of a moment, and the moments she captures on her own face are pieces in a larger trajectory, moments in a grander performance that define her aesthetic. Presented here are pieces from her ongoing large scale Polaroid series, Sides, her small scale Polaroid series, Quotidian, multimedia pieces from her time at the Vermont Residency, and pieces from her 365 image work, Project Face. The artist is hyperaware of the role of the face in contemporary society, especially within the realm of social media and on the internet. Over the course of 2011-2012, Dweck created a 365-piece work called Project Face, in which she changed her look and Facebook profile page each day for a year. From these roots, Dweck has further delved into the notion of the selfie, photographing, painting, and documenting different sides of herself. Growing up in Brooklyn with both Middle Eastern and European roots, Dweck has always been fascinated by expressions of multicultural identity.

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Through the selfie, Dweck questions the popular conception of this one sided mode of expression, exploring every side of her own self â&#x20AC;&#x201C; be it fresh from the shower or disguised under wigs, ribbons, paint, and cultural paraphernalia.

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Dweck strives to bring her own identity to the fore, on both the small scale in her Quotidian works, and in the larger prints of Sides. Her ongoing large scale Polaroid project Sides is a journey into observation that allows viewers to question how they perceive her self-portraiture and the notion of identity at large. Viewers can decipher who these characters really are, recognizing the nuances large and small that cause them to see each piece, each feature under disguise, differently. Sides explores large shifts in perception, both in the range of Dweckâ&#x20AC;&#x2122;s appearance, but also in the time between shoots, which are meticulously planned. In contrast, Quotidian documents smaller changes, presenting everyday snapshots that exude an air of spontaneity. Polaroid film, much like the instantaneous digital camera or iPhone snapshot, is synonymous with capturing an immediate moment in time. Unlike modern technology however, each piece here represents a moment that cannot be recreated, but an irreproducible, individualized moment much like painting. The artist returns to painting in her Vermont works, yet these multimedia forays break from the consistency of her Polaroids and iPhone photographs in both scale and form. Dweckâ&#x20AC;&#x2122;s most current multimedia series, Studies, layer painting and mixed media over small Polaroids. In these small works, the artist makes herself up in the photograph itself, and then draws, paints, or adds found objects over the figure to further obscure her disguise. The artist considers Studies to be intricate jewels that she attacks with color and force because of their size. The scale and attention to detail adds to a sense of intimacy that appeals to her audiences. In series both large and small, Dweck recycles materials from previous shoots and projects, using these found objects to revisit of same scenarios from Untitled 6

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different perspectives. Each work demonstrates how Dweckâ&#x20AC;&#x2122;s artistic interests are not simply reproductions of her face. Here and in diverse media, Dweck imbues the self- portrait with new meaning in her intent focus on identity and perception.

>>> Rina Dweck United States

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Photographs in the "mugshots" series are selfportrait comic depictions of staged characters that were inspired from my own observation of people on the street, celebrities in the media, also real life police photos. This project is rather to explore gestures and face expression in extreme circumstances as being arrested than to make fun of criminals. As facial expressions, hand gestures and extreme emotions have always fascinated me, I focused on people's attitudes that come from anger, guilt, shame, vulnerability, and humiliation that are created in daily incidents.

When creating characters to transform into, while living in such a multicultural place as New York City, has given me an opportunity to observe and try to mimic a multitude of emotions. In this self-portrait series I am transforming into stereotypical characters that I created, whose mugshots are portraying various reactions to being arrested. This is an ongoing project since 2011.

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>>> Yoko Haraoka Japan & United States Yoko Haraoka was born and raised in Japan. She graduated from Tamagawa Univerisity with a major of Bio Chemistry, and worked at a bio chemical lab for a few years in Japan. She then moved to the U.S, and she graduated from New England School of Photography in 2009. Her photographs has been exhibited multiple galleries including hpgrp gallery (Chelsea, NY) Philadelphia Photo Arts Center(Philadelphia PA),Lesley Heller workplace (Lower East Side, NY), PH21 gallery (Budapest, Hungary), Darkroom Gallery (Essex VT).

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[the fragmented self:] identity and digitality

multiple faces of the gaze Claire Manning (UK) data traffic project Pietro Catarinella (Italy & UK) anne, do you know anne beck? Anne Beck (USA) hyper Gabriel Orlowski (Poland) lego face/mask Ralph Klewitz (Malaysia) study of self Anthony Hall (USA) flatland Alessandro Martorelli (Italy) conjunction Robin Gerris (Netherlands)

photoshop drawings Carol Radsprecher (USA) between dark and light Veronica Hassell (USA) dark selfies Daniela Olejnikov (Slovak Republic) semi-organic, semi-mechanical humanoids Jayson Carter (USA) vicarious Nathaniel St. Amour (USA) on selfieness Jonathan Armistead (USA) a sister of her sister Piotr BoÄ&#x2021;kowski (Poland)

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//multiple of the gaze


When I look at this image, what do I see? I see form, shape, patterns, tones, colours, and textures I see the face of a twentieth century actress I see a contemporary advertising image I see a curious hybrid – neither one thing nor the other – with a personally unique identity I see something dead; gone I see something filled with new life I see an accurate representation of a face I see something obeying its own twisted internal logic to deliver the approximation of a face I see truth I weave a fantastical story I sense the subtle disruption of the Real’ haunting the margins I see something coloured by conventions, rules, ideology, and hierarchy I see passive, dependant, stereotypical perfection offered up to my control I see a pervasive lack of perfection Folded Delia Mason June 2014', 2014, 31 x 49cm, print / sculpture

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I see an aura of insistent defiance I see lack, denial, castration I stare at her She spies upon me I control her She manipulates me Not one true gaze Only multiple, shifting possibilities re-aligning in endless permutations As revealing about the truth of the image As they are about the reality of the self

>>> Claire Manning United Kingdom I create collages using non-traditional making processes and construction methods. I work with images of women as I’m interested in exploring the ways they’re portrayed in modern culture. Each collage usually pairs a twentieth century actress with an advertising image from a contemporary fashion magazine. What results is a collaged, hybrid ‘other’ female face. What I produce varies. It may be a single image exploring paper itself by accreting multiple layers into 3-dimensional relief, or it might bring an excess of material into one exuberant image. It may end up as a huge poster, a small painting, a film, an installation or a sculptural form. I started training and practicing as an artist in 2006, graduating with an M.A. in Fine Arts (distinction) in 2013. My work has been shown in numerous exhibitions across London and the South East, and in 2014 I was short listed for the Clifford Chance Sculpture Prize. I am a Director and Founder Member of Making Art Work, an artist’s collective based in Maidstone, Kent. Prior to 2006 I worked as a business systems, procedures and project management specialist, latterly for the Big Lottery Fund.

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//data traffic project


How do we perceive photographic images and texts in relation to the experience of the Internet? And how does the digital image and its distribution via the Internet change the nature of the photographic image itself?

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Data Traffic presents a paradoxical surface where digital and analog, virtual and real are indistinguishable giving light to a ‘nomadic image’, i.e., a playful critic of representation. It is an image without subject (in a sense a fractal image) where reproductions appear and collapse in constant circular movement, a continuous renewal of the same tension between concealing and revealing. Even though photography is at the very core of the project, it escapes the standard way of perceiving and understanding this medium: photography is no longer an object, and representing objects, but rather a ‘never ending’ visual experience. The project does not deal so much with history as with the contemporary condition of ephemerality. Hence the title of the project: shapeless data drifts in the eternalised context of silent traffic.

the project aims to arrive by collapsing representations and by bringing them back to the state of Data.

Process The experimentation starts with a selection of screenshots, found photographs and text fragments, which go through a post-production phase where technology is challenged by using it not to produce a conventional or mimetic image. Photography is no more a mirror of the outside world, no more a ‘pencil of nature’ or a ‘transparent window’. This two-way relationship between the world and its representations is now broken. A = A is over. Photography is conceived as a continuous process of manipulation of an initial invisible, untouchable, unthinkable ‘latent image’. A sublime initial being of the image to which Timetravel

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Data are not Information. They are not yet aesthetic object, they exist before and after language. They are â&#x20AC;&#x2DC;givenâ&#x20AC;&#x2122; to us as raw materials to start with. This subversion of the linear relation A=A culminates in a final result that is not preconceived but rather the opposite: always new and unexpected.


A â&#x2020;&#x2019; B is over. Because the process is not considered to be a linear trajectory from point A to point B, but an incessant repetition of the same compositional and de-compositional act, the images constructed result from a particular moment in the present, concluded and dynamic at the same time. The concentration of registered movements in the image reflects the condensed saturation of Internet images entering our field of vision.

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The time in which Data Traffic is built and experienced is considered to be circular, in the way in which we scan information on the Internet. The resulting image captures all these qualities from the different sources and processes and displays them in form of a multidimensional freeze-image. It invites the viewer to come to a brief standstill and reflect on the ever faster


evolving flow and transformations photographic image in a digital world.

>>> Pietro Catarinella Italy & United Kingdom



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//anne, do you know anne beck?

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I've been excited, lately, by a good number of invitations from social networks to introduce me to me. They ask good questions, like, Anne, do you know Anne.

>>> Anne Beck United States Anne Beck is an artist, curator, educator, and hand papermaker. She works collaboratively & independently in a variety of media from painting to print & book making to public intervention. Anne is a core member of The Printmakers Left, an international collaborative working in print and book arts, whose most recent project, Exquisite History Volume 3: The Visionary Workbook was published in November 2013 with an accompanying exhibition traveling nationally. She holds an MFA in painting from Pratt Institute & a BA in printmaking & art history from the University of Virginia. Anne lives & works in Northern California where she is founding director of Lost Coast Culture Machine, a contemporary art space & handmade paper mill focusing on interdisciplinary & sustainable creative practice.

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The presence and intensity of symbolic power in the public space and information and media industries pushes the subject into a constant imposition of needs and ideals â&#x20AC;&#x201C; authority, riches, health and beauty, life forever young. It demands, in turn, a full discipline and submission to the routine, rhythms and behaviors of a selfimposing consumption. Modern world, however, has started to change so quickly and drastically, that the content, aimed at the most effective â&#x20AC;&#x201C; thus short-lived, shutter-like â&#x20AC;&#x201C; reception, almost instantly expires, turning into a facade merely.

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The constant updates bring about the merging of data into one uniform noise – a hypersensitive space is exposed, constituting a map and borders for a contemporary potemkin village, leaving behind beacons without properties. Detached from its’ artificial, modelling superstructure, a hollow, bare construct emerges, deprived of all of its’ points of reference.

>>> Gabriel Orlowski Poland Born 1989, living and working in Warsaw, Poland. Student of photography at the Polish National Film, Tv and Theatre School in Łódź. Published in various European magazines and online publications (incl. YET Magazine, Dazed & Confused, European Youth Trend Report, Rwa Zin etc.). Author of Anti-Accent, a photobook published by dieNacht Publishing · Edition based in Leipzig, Germany, in may 2013. Interested in modernity, technology, sensuality/corporeality, philosophy and theory of the image as well as paper publications.

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//lego face/mask During a Skype conversation, my 6year old son Alexander and I were building Lego together. He lives in Melbourne/Australia and I am located in Kuching/Malaysia. For our long distance play dates, I often ask him to give me a building challenge, and for this session, he suggested that I construct a head. In contrast to his large collection, I only own a few basic pieces in black and white. Because of this limitation, I faced a challenge. Considering the happy times we both have when skyping and searching an analogy of this experience, the two ancient Greek muses came to my mind. Whist my intention was to capture the positive energy of our play, it was clear to me to choose Thalia, who represents the genre of comedy, as my model. When both have completed our creations, it was â&#x20AC;&#x2DC;show timeâ&#x20AC;&#x2122;, like Alex called it. As a result of the sizes and the amount of building blocks in my collection, my Thalia face became as large as a mask. It was then only natural to hold it in front of

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my face, which of course caused amusement Melbourne. After playing with my son, I took self-portrait with the artificial face that, the context of a self-portrait, reminded me of well-known theatrical mask.

in the in the

>>> Ralph Klewitz Malaysia My name is Ralph Klewitz. I am a Swiss artist who lives in Kuching, Malaysia. I was born in 1965, raised in Switzerland and studied visual communication design as well as fine arts. In 2011 I graduated with a Master of Arts in Contemporary Arts Practice from the Bern University of the Arts and since 2014 I am a doctoral candidate to study towards the Doctor of Arts Degree at Aalto University, Department of Art, in Helsinki. The topics of my artistic practice and research in fine arts raise cultural, ethical and political questions and I negotiated those in various geographical contexts with meaningful and meaningless; intangible and tangible contents.

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//study of self

finally collapsed in the place of disregard and absence

new chaos

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Questions I ask myself continuously: Am I creating the most accurate lens possible to view myself? Has technology skewed the mirror for “self”? Can I detach myself from the constant comparison cycle of today? All of my artwork is a study of “self” – my daily response in a world that has a need for constant critique. When I say daily response, I mean finding ways to express thoughts, feelings and senses as immediately as possible. I can’t speak for, estimate for or perceive others experiences, and I would never try to. As an artist I would never hide behind “social commentary” and add to the hyper-intensive noise that are the digital podiums we’ve given ourselves. Everything is about the self and I can only create dialog for and from that.

>>> Anthony Hall United States I'm primarily a painter from San Francisco, CA, US. I suppose I'm what you would consider a "self-taught" artist as I have no educational background or formal training in art practice. Some of my influences are: J Dilla Joy Division Franz Kline John Coltrane D'Angelo - Voodoo Heman Hesse - Demian Krishnamurti - Freedom from the Known David Lynch - Eraserhead

our language on the walls in the aftermath

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Conjunction (4), 2014, Phototransfer on wall, 400cm x 100cm

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unstable and temporary materials, but also the destruction of this form is a permanent interaction between image and content. Here the traces of the act form the image. This creates an indefinable emptiness. As if my pictures are incomplete and left behind and just leave a few traces which might tell a story about the used space. The viewer can make the story complete again by using his own memories and linking them to recognizable elements in the pictures and materials. This creates a reflection on the life of the beholder, indirectly linked to my own experiences. Furthermore my work is about images in a reproductive digital age. What happens to images when they get reproduced and what actually is an original image. Diverse reproductive methods find their way in my work and show a certain transience of the image when it gets reproduced.

>>> Robin Gerris Netherlands Conjunction (3), 2014, Phototransfer on plaster plate, 150cm x 350cm

I am a storyteller, a collector of memories and moments. By combining these found images and fictional or real stories with different materials I create images in which I try to capture these moments and temporarily hold them still. The design of an unruly shape, often with fragile,

I am based in the Netherlands, 26 years old and I just graduated from the School of Arts in Tilburg. I have always found that the art is a medium for people to express themselves and show their own perspective on the world. In a world where internet takes over many of the daily occupations and where the interface plays a dominant role in communication I find that the arts can show a different perspective on this development. Thatâ&#x20AC;&#x2122;s why I also teach arts at different schools to show the different ways in which you can live the world as your own place.

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The theme I have chosen for these drawings is "identity and digital madness", we could say so. I reasoned that on digital life and human's role in it, we are creating a sort of new Flatland in which we are "transferring" (or mentally transferring?) a huge hologram.

>>> Alessandro Martorelli Italy Alessandro Martorelli was born in Assisi (PG) Italy in 24/09/1990. He lives and works as an illustrator and street artist in Rome.

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//photoshop drawings

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These are inkjet prints drawn in several include Photoshop images photographs of myself.

Photoshop; from my

I am a painter and Photoshop printmaker, born and still living in Brooklyn, with an MFA from Hunter College, CUNY. My work has appeared in several solo shows and numerous group shows, as well as in many publications (both online and hard-copy).

>>> Carol Radsprecher United States

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// between dark and light

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I am a Midwest amateur photographer. My art is a focus on nature and the balance between dark and light and the beauty in both. I create digital art with a mobile device as well as DSLR and analog. My work is mainly a focus on layered photos and textures.

>>> Veronica Hassell United States

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//dark selfies

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Just put two mirrors against each other. Two mirrors, each one reflecting the other one, but both stay empty. It is necessary to put between them an object that would multiply itself in never-ending game of duplicates.

>>> Daniela Olejnikov Slovak Republic Originally meant to deal with experimental & visual poetry, fusing theories and practice of Occult & Logical tradition. During the production process (printing) of her first book of poetry (2013) an error occurred. Printing machine was dysfunctional thus all issues were printed in different shades, certain sections become nearly unreadable, some words or whole sentences turned into nice 3D format. And dysfunctional poetry came to life & the female poet turned into digital artist.

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//semi-organic, semi-mechanical humanoids

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My current body of work uses studio portraiture, a glitchy printer, a scanner, and post-processing to distort and abstract the human form, resulting in a series of semi-organic, semi-mechanical humanoids whose identity has been corrupted by pervasive technology.

>>> Jayson Carter United States Jayson Carter, 21, is currently studying photography at Towson University in Maryland, USA.

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Just Another Face II, 18x24in, oil and enamel on canvas

Just Another Face III, 18x24in, oil and enamel on canvas

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My work chronicles the computer screen as a new way of seeing. Pixels are the building blocks of todayâ&#x20AC;&#x2122;s images just like graphite; paint and ink have been in the past. The natural environment of the pixel is on a computer screen, so by adding them to my drawings and paintings, a place where they are not endemic, I am referencing their pervasiveness in our tech-driven lives. A lot of my work is also visually confusing in order to capture the aesthetic of a particularly busy webpage. The figures I use are touched by technology. They are enthralled by it, and have scars to go with it; the most prevalent of which are baggy eyes and blank stares. I explore emotions created by the digital age; the dazed look of one looking up from an iPhone screen, the shock of having headphones ripped from your ears, or the deadpan stare of one who has spent the last seven hours playing a video game. My figures are connected to their technology, it has become a part of their body, it is a part of their nature, and often times more real than reality. The digital age has changed the way we see and interact with the world around us. My art notices and responds to this change, not as something that is good or bad, but as something that just IS.

>>> Nathaniel St. Amour United States Just Another Tumblr,11x15", pen, ink, watercolor on paper, 2013

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//on selfieness

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>>> Jonathan Armistead United States

This sculpture was built from a 3D scan of my body in a "selfie" pose. The advantage of a selfie is that we're cropped to present ourselves in an "ideal" pose. However the full pose itself, seen out of context and without cropping can seem quite ridiculous. When it is translated to sculpture, it has the opposite appearance of being quite elegant and almost heroic.

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//a sister of her sister >>> Piotr BoÄ&#x2021;kowski Poland

Loops of internalized circulation. Tunnels tangled for thousands of miles overlapping. Twin sister was sent in an electric capsule, moving through the vast strains of the mycelium that undergrows the jungle. Enclosed in a solid sphere, like a spore. With her glance teasing a stiffening pipe of an air conditioning exhaust. There was fungi discharge dripping from it. Tubular cracks of vehicle surrounded her with a subtle web, overwhelming with an unexpected but persistent migraine. Recalling traces of mold on the wall, pain was triggering the superflat strains of her nerves. Disturbing intensity of light. Poking edges. Smell, like a severe hallucination, grew to monstrous dimensions of an utterly frightening childhood memory, constantly changing its form. Each time revealing an even more hideous nature of herself. Recalling forgotten weirdness. The dead sister brought to the shack slums in the desert of the night. Watching anon-existent movie through her body, like a dream device. Deliric archaeology of the immediate past. Fights of beastie sisters in a cage. She tried to masturbate to expel this mirage, in an attempt to desperately shake it off her temples, but the bodkin of orgasmic contraction paralyzed her face muscles with bitter numbness. Her mouth filled with a taste of fungi.

She collapsed awaiting. In the very depth of the jungle, the capsule stopped. The central concentration was located directly below corpuscular silos of nanomaternity. Swallowed by a half-extinct volcano, an atomic rector was receiving emissions from all sorts of different parts of monster island, accumulating them into a critical mass. The reactor was a melting pot for twin sister mutations, creating a gigantic cocoon of a technowomb trapped within an obscene mouth of an electromagnetic chimney. The twin sistersâ&#x20AC;&#x2122; swarm gathered in the bottom apex of a concavity, connected together through smart devices of virtual penises, radiating digital sperm. Huge beyond the twinâ&#x20AC;&#x2122;s perception, the nanomaternity reactor constituted her event horizon. She felt as if she were in a completely open empty space, in the forgotten pout of the ocean. On a freak atoll. The twin sisters laboratory is a blend of institutional rot and medicalized breed, clotted with fungi. Ocean digested by a canal. Jungle closes in on both sides. Here is the place where twin sisters are transplanted. Notion of monstrous biotech laboratory environment, as a total ontological category, encapsulating the realm of all twin sisters. Concrete layering of the experimentation chambers becomes an immediate extension of brain wiring, enclosing itself within it and projecting it at the same time. Being an ultimate construct of the jungle immunology system, spheral urban cocoon, that materializes its project within high-tech presence. Virtual communication, which enfolds the (hyper)natural dimension of the laboratory, functions instead of her neuronal system. New online applications for portable electronic testicles have automatically replaced some parts of her brain.

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Her migraine started dissolving with the first ejaculation of digital sperm. All of the sisters were spraying it around them, filling the technowomb with an intricate network of artificial gene transfers. Digital sperm was the only valid virtual currency in the electric jungle, stimulating awkward sex implosions of neofungus. The digital sperm of several different twin sisters was mixing inside a brain scanner. Their virtual penises plugged into its interface. They were playing a multidimensional quantum game inside it, making points by outlining spheres of genetic influence. Appropriating the proximity to one another, taking over each other’s fields of influence. Pinpoint alternative possibilities of neural targets. The brain scanner was able to model a new twin cocoon based on the chimerical patchwork of juxtaposed DNA. It could also print a variety of cellular patterns and all of it simulated by her new generation virtual penis. Twin sister looked around. The space was fragmented by a cluster of holographic domes, enclosing crowds of sisters, crawling on each other like insects. Hypnotized by the trance of revolting chemistry. She was getting gradually enraged beyond comprehension, instinctively imagining a severe and methodical procedure of segregating sisters into enclosed vacuum cocoons. Based on the types of deformity they have worn around their slit eyes, the group units were defined by a certain category. Think about any whimsical way of exterminating her twins. Useless critters, blindly gather together, just to eat each other’s dirt, smearing it on the rim of their orifices. To breed more of themselves alike. Swollen in a cocoon. Swallowing slime. “What an utter waste of space” she muttered, detested. An enormous crack opened inside her.

Progeny of beyond. As curious as suspicious. Heroes of her own paranoia. Losers of her common sense. Lunatic twins. She was hiding something in her hair. An enormous tangle, she picked a few lost threads stuck to dust structures, carrying radiating particles and mutating spores. She searched within her, entering the hair-brain abyss of magnificent volume. Gentle strokes of her fingers irritated a scab-colony of suppurating glands that were discharging thick liquid tissue, made out of the collective existence of her clones. Miniature embryo viruses were coming from perfectly voided nihilism of technological death. Re-enacting fantasy variants of possible creatures, with their ridiculous squeaks and amoeboid body projections. Round or oblong organ displacement. Yet to be. Was this strange body worm coming form inside her brain? Feeding on her hair. She will keep creeping back in. The sister in question. Looking somehow insectile. Now for it. Creeping in the back of her head, she has never quite suppressed the feeling that she is not herself exactly but rather some-body else. Movement in a crowd of random twin sisters brought a discovery of paradoxical detachment. Surrounded by morphing head-pieces, she tried to reach to them desperately but unsuccessfully. Frozen in a corrupted sequence of animation. The heads simply couldn’t turn around. A confusingly smeared angle in a multi-exposition tumour apparatus. It wasn’t possible to see her twin sisters’ faces. They were non-existent, covered with layers of glitchy masks and distorted landscapes, their fake depth perspective. The imploding surface of pits, swallowing swollen tentacles, was powered by a pattern of microscopic injections. Countless semiorganic tubes were growing inside their hair and

[the multiple exposure project zine 1.0]

delivering nano-twins that way. Nanotwins extracted from the most potent mutogenic sisters directly into fungi spores. She sucked on the pits a great deal. A sweaty ball of hair made her choke. She seemed half-hairbrained. But she didn’t want to drink her hair now. “You are too foul to live!” said her sister, “Why are you not killed for your horrible shapes?” She need not have said this, her eyes betraying her intentions all too clearly. And there she was. A middlesex twin emerged from the gene pool. At the edge of the jungle. Albino freak. Self-hypnotized to perform autocannibalism. Staring at her own tail’s movement. Coldly supervising the coil snaking behind her back. Twisting the spine with an empty look. Frozen awe. Stricken by this encounter, she finally realized that the sister had a sister who wasn’t her, but lived in her body. Who was she? Her twin, hiding inside her. Was she spying on her all this time? Certainly, but not just by herself. All of them were following each other’s gestures. The integrity of her self has been forever compromised. Her brain seemed to rattle against the sides of her skull. She hissed: “You monstrous thing, how I despise you!” She knew that she hadn’t been like that before. Certainly she wasn’t confused. Her body






has never fought itself with such desperation. And now, her immunology system got into some sort of realization, confronting itself as an essentially fragmented entity of different genotypes, contrasting microbiological mechanisms, not functioning together but despite one another. This new system dynamic seemed to her as fascinating as

frightening. She toyed with the idea of her inner organs being in war, especially the nervous circuit, which didn’t seem so actual anymore. Separate segments of the spine eating each other’s tails and all together raping the brain. Limbic gland biting into the cortex. Left side of the brain constantly torturing the right side, when at the same time the other one was infecting her with an unknown virus, beyond words… They run the body as a racist organ farm, with their very own sex slaves of limbs & pits, moist with completely different discharge. Biotech madness within herany-self. Her just revealed hybrid nature must have been of fungal origin, there was no doubt about it. Or should she rather say – them? For fungi are many within the same mycelium, mapping the jungle with their tropical extensions, they are creating a virtual model for the future twin sister breeding ground. So, these twins were living already inside her own body, which she has never really owned. She was a portable organic laboratory whore, where experiments of the new genetic mutations were cruelly confronting their freaky effects at her expense. She looked at herself in the reflection of the c.anal surface – oh, how random was her look! Being just but an extension of her biotech laboratory, that created her brain cocoon in the depths of its technowomb. Prefabricated cynically in the sewer. Feeling betrayed by monster island. She was roaming through the jungle, in circles. She couldn’t stand herself. Why were twin sisters always so alone in the jungle? Why was the fungi laboratory breeding exclusively female mutants? What’s the purpose of this insect-ish feel to the experiments on monster island? Inner organs murmur. Flesh’s flash! Melancholic whisper of orifices, breathing. These and similar questions were echoing in her womb, unknowing that the very womb was the most direct answer for them. Her womb

[the multiple exposure project zine 1.0]

itself was the essential mutation device, involved with genetic chimeras, re-creating it’s own biomolecular environment anew. Pregnant with perverse research of the neofungus laboratory. Chewing the fertility of trash. The synthetic trash island, eaten by fungi, creates a new environment of infection. If she hadn’t been infected, she wouldn’t have had to mutate. The infection –like any other art- is one of the possible. Quite so. Infected, she has turned polymorphous perverse. Followed by her hidden twin sister, who enveloped herself in the jungle. Watching her without being noticed? Thus, those who employ secret agencies must monitor them! The agent knows who she is spying on, but she never knows who is spying on her. She snaked her limb around the body. Wrapped it around as strong and as supple as a tropical vine. She will just cave in. She will. Or maybe she won’t. Because she doesn’t like the idea already. Finding herself lost in the jungle. She did about everything to find her twin sister. Looking in all directions at once, blindly. Has anybody seen her?

Downward spiral of the spine. All the way to twin sisters second brain. What was her excuse for the endless non-sequiturs? Now, she needs a large piece of sleep again. Or maybe it’s just an urge to take a nanotwin pill? Monster island is questioning itself more than ever this time. Lets mystify the illusion of a weather forecast. Across the wasteland. Across the ocean in no time. The wasteland is not inside the island’s jungle anymore, but the isle on the wasteland. Floating. The ocean is the wasteland itself. Floating fungi, shining like an eye and growing on water. It glistened darkly in its intricate patterns. Liquid morel? Melting knobs of void. An edge of the vortex, on every horizon of the trash archipelago, was composed exactly like her bizarre eye deformation that her twin sister has tried to imitate with digital make-up. Made out of theoretical fungi, it resembled sign language of microbes. Internet false feet. The desperate struggle of a unicellular organism to duplicate.

[the multiple exposure project zine 1.0]

Profile for The Multiple eXposure Project

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

Divided into three interrelated chapters, this zine features oeuvres by artists and writers from different localities around the world and,...

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

Divided into three interrelated chapters, this zine features oeuvres by artists and writers from different localities around the world and,...