By Manuel Vason
A brand new collaborative enterprise among Manuel Vason and 40 of the main visually arresting artists operating with functionality within the uk, Double Exposures brings jointly newly commissioned pictures and essays to discover new methods of bridging functionality and images. Ten years after Vason’s first e-book, Exposures, this bold venture attracts into sharp concentration the physique, the diptych, documentation, the photobook, identification, mediation, collaborative practices, and the connection among images and function. With essays through top critics, teachers, and practitioners, this assortment solidifies Vason’s centrality to the images of performance.
Copublished with the stay paintings improvement service provider (LADA).
Published with the aid of Arts Council England.
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Additional info for Double Exposures: Performance as Photography, Photography as Performance
Example text
Predominantly photographs of Klein in action are captured in black and white. At that time black and white negative film was much more highly developed than colour negative film and therefore available in a range of film types better able to cope with differing light conditions and to meet the 34 needs of speed and movement in the work. Nowadays the use of black and white film as photographic style is still in evidence in some live art practices, but since the application of ‘grey mode’ to a colour file is possible in digital practice, the black and white image is certainly now associated more with a deliberate ‘style’ and aesthetic or desire to relate to an earlier history and use of ‘deadpan’ documentary associated with conceptualism, rather than being rooted in the earlier associations of ‘urgency’, ‘consequence’, ‘proof’ or ‘relic’.
2. Philippe Vergne, ‘Earth, Wind, and Fire or to overcome the paradox of Yves Klein, the molecular child who wrote to Fidel Castro on his way to Disneyland’, in Yves Klein: With the Void, Full Powers (Washington DC: Hirshhorn Museum and Sculpture Garden; Minneapolis: Walker Art Center, 2010), pp. 42-66 (p. 50). 3. O’Dell, op. , pp. 13-14. 4. Alice Maude-Roxby and Françoise Masson, On Record: Advertising, Architecture and the Actions of Gina Pane (London: Artwords Press, 2004). Merely a Stain in the Picture?
Instead, time can only be experienced and enacted, over and over again. Double Exposures can thus perhaps be interpreted as a series of rehearsals for which there is no premiere, each cut executing a new encounter instead. Mediation is instantiated here on a number of levels – with the participants all ‘becoming an image’, and then re-becoming it again, anew. Artistic or even human agency does not disappear from this process of photographic mediation but it remains distributed – between participants and their technologies, and also between their bodies and the images of the bodies they produce and mirror.