Double Exposures , livre ebook

Intellect Books - Manuel Vason

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205 pages

English

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Description

A new collaborative venture between Manuel Vason and forty of the most visually arresting artists working with performance in the United Kingdom, Double Exposures brings together newly commissioned images and essays to explore new ways of bridging performance and photography. Ten years after Vason’s first book, Exposures, this ambitious project draws into sharp focus the body, the diptych, documentation, the photobook, identity, mediation, collaborative practices, and the relationship between photography and performance. With essays by leading critics, academics, and practitioners, this collection solidifies Vason’s centrality to the photography of performance.

Copublished with the Live Art Development Agency (LADA).

Published with the support of Arts Council England.

Introduction, David Evans

Double Exposures, Manuel Vason in Dialogue with Helena Blaker

Manuel Vason – Framing Live Art, Lois Keidan

Performance, Photography, Collaboration, Revisted: A History of Manuel Vason, Dominic Johnson

Past-Present-Future, Alice Maude-Roxby

Merely a Stain in the Picture?, Christopher Townsend

Doubled Up: The Art of the Body, David Bate

Performative Conceptualism: Double Sense, Double Fracture, Double View, Adrien Sina

The Life-Making Power of Photography, Joanna Zylinska

Double Exposures

Reversing the Gaze

Double Images

Artists' Notes

Behind the Scenes

Biographies

100 Exposures

After Double Exposures

Sujets

Photographie

Performance

Manuel

General

Photography

General officer

Performance art

Live Art

Informations

Publié par	Intellect Books
Date de parution	01 janvier 2015
Nombre de lectures	0
EAN13	9781783204106
Langue	English
Poids de l'ouvrage	15 Mo

Informations légales : prix de location à la page 0,1600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in the UK in 2015 by
Live Art Development Agency,
The White Building, Unit 7, Queen’s Yard,
White Post Lane, London, E9 5EN, UK
www.thisisLiveArt.co.uk
and
Intellect, The Mill, Parnall Road,
Fishponds, Bristol, BS16 3JG, UK
www.intellectbooks.com
First published in the USA in 2015 by
Intellect, The University of Chicago Press ,
1427 E. 60th Street, Chicago, IL 60637, USA
Edited by David Evans, 2015
Contributions © the individual contributors, 2015
Cover images and endpaper image:
Hugo Glendinning and Manuel Vason, Double Exposures, London, 2013
Designed by David Caines Unlimited
www.davidcaines.co.uk
Printed and bound by Gomer Press, UK
ISBN 978-1-78320-409-0
Double Exposures has been produced by Maria Agiomyrgiannaki for Manuel Vason Studio.
Published with the support of Arts Council England.
All rights reserved. No part of this publication may be reproduced, stored in a
retrieval system, or transmitted, in any form or by any means, electronic, mechanical,
photocopying, recording, or otherwise, without written permission.
All opinions expressed in the material contained within this publication are those
of the artists and authors and not necessarily those of the editor, publishers or the
publishers’ partners.
The editor and publishers have endeavoured to secure accurate information about
reproductions and image copyright wherever possible. In the case of incomplete
or inaccurate information in image captions, the editor may make corrections to
subsequent editions upon request.
A catalogue record for this book is available from the British Library.
www.ManuelVason.com
www.Double-Exposures.com4t
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7
on ntDouble Exposures is a rich title. It obviously One: the diptych. Vason states that he likes to She notes changes in Vason, but she also stresses
references Exposures, the frst monograph by work with two related images because he thinks how his ways of working have infuenced his
Manuel Vason that was published in 2002, and that the gap between them generates confusion collaborators: ‘These are artists who, like Manuel,
there are some clear continuities between the and encourages a more active response from understand that they can do things here that aren’t
two books, separated by more than a decade. In the viewer, a process that ‘feels closer to the live possible elsewhere. They also understand that these
both publications, Vason works closely with artists performance’. Two: contamination . He uses the word images are not just of their practice, but are their
who foreground bodily exposure, for example, and unconventionally to mean a ‘positive virus’ or an practice.’
his photographic exposures are often marked by a ‘intra-pollination between artists’ that will also
formation within commercial photography. Yet infect his viewers, he hopes. Three: collaboration. A discussion of collaboration is also an important
the Double in the title of the latest book signals Collaboration or co-production has always been aspect of the essay by Dominic Johnson. Johnson
signifcant breaks. A new focus is on the double an important aspect of his work, he emphasises, edited Encounters: Performance, Photography,
image or diptych, and each diptych is created by but now takes on a stronger meaning. Above all, Collaboration (2007), published to coincide with
another double, a live artist plus Vason. Moreover, Double Exposures is marked by a keen desire to Vason’s solo show at Arnolfni, Bristol, and the
subthere is a doubling in the very structure of the let go, blurring any clear-cut distinction between title of that book is the title of the new essay, now
book: in the frst half, Vason asks past collaborators photographer and live artist. ‘revisited’. We learn that Encounters was originally
to become photographers, creating an image with going to be called Pure Collaboration, but the draft
his body; in the second half, new collaborators The essay by Lois Keidan is informed by her title was dropped because some of the participating
are invited to create a performance that could experience as founder-director of the Live Art artists were unhappy with references to ‘purity’.
be captured in two photographs. It is also worth Development Agency (LADA). LADA began in With the beneft of hindsight, Johnson comments:
adding that within photography the term ‘double London in 1999 with publishing as one important ‘Collaboration may take place in art, but is rarely
exposure’ describes the repeated exposure of a plate activity. Its frst book was Exposures, co-produced “pure”, never a relation of sheer equanimity, and
or flm that can be deliberate or accidental. Vason with Black Dog Publishing, and Double Exposures always structured to some degree by control,
and his collaborators work with deliberation, it must is co-produced with Intellect. Indeed, another infuence, authority, or privilege (age, gender, and
be stressed, but also embrace the happy accident. instance of continuity between the two books is experience may inevitably play a part).’ Which is not
the ongoing involvement of Keidan and LADA. to say that collaboration is doomed from the start,
Vason’s own refections on his new project are Whilst acknowledging the signifcance of Exposures he hastens to add. Rather, he sees Vason’s trajectory
eloquently presented in an interview with Helena with its foregrounding of Vason as ‘performance as one in which the notion continues to be fruitfully
Blaker. Their exchanges are insightful and wide- collaborator’, she is nevertheless struck by a explored: ‘By creating new projects where much
ranging, but here I wish to merely concentrate on modesty and caution that contrasts sharply with of the control is ceded to the other collaborator […]
three key terms that emerge during the interview. an unprecedented exuberance in Double Exposures. Vason plays fast and loose with the photographer’s
8“Double Exposures could be experimentation with collective hypnosis, dream instance, Facile (Paris: GLM Editions, 1935) is
séance, and the like, where the goal was to ‘unify generally treated as a ‘classic’ photo-book, but the described as live art or
one with the other, to see the self in the other, a cover and contents give equal status to poet Paul performance in book form, but
collective image.’ Adrien Sina’s ‘essay’ also provides Éluard and photographer Man Ray. Similarly, Let I would contend that it is also
broader contexts, contemporary and historic, for Us Now Praise Famous Men (Boston: Houghton productive to think of
situating Double Exposures. Surrealism is never Mifin, 1941) has canonical status as a photo-book, it as a photo-book.”
directly referenced, although he includes a double- but the publication is a co-production between
headed self-portrait by Claude Cahun. Nevertheless, writer James Agee and photographer Walker
the complexity of his two sets of complementary Evans. Both of my counter-examples could easily be
diagrams evokes the Surrealist experiments with categorised as literature, rather than photography,
prerogative, thus complicating his right to have the creative disorientation mentioned by Bate, but at the moment they are regularly described as
the last say over what is documented and how.’ And as well as ofering an equivalent to the double photo-books. Similarly, Double Exposures could be
Johnson is happy to conclude that ‘the romance images of Vason and his collaborators. And Joanna described as live art or performance in book form,
of collaboration, as it relates to performance and Zylinska notes that Vason’s photographs are ‘much but I would contend that it is also productive to
photography, has now been disenchanted.’ more than a mere record of performance’. On the think of it as a photo-book.
contrary, they are ‘visual tableaux’ whose complex
Alice Maude-Roxby also astutely identifes ‘transactions and exchanges’ all problematize the Already in the mid-nineteenth century, there was
changing positions within Vason’s three main notion of ‘the photographer’. an interest in the book as an outlet for photography,
publications. In Exposures (2002) he is the but the photo-book only really took of with the
‘photographer’; in Encounters (2007), he is the To recap, Double Exposures is not the invention of mechanical reproducibility around
‘collaborator in performance to camera’; and in documentation of an exhibition, or of a series of 1900. The 1920s are often considered the ‘golden
this publication he is the ‘subject of the artist’s performances. Rather, the book is the exhibition age’ of the experimental photo-book, marked by
image seen immersed within the vocabulary of and the performances. In addition, it is a book of adventurous picture editing. One popular technique
their practice.’ Chris Townsend is also interested in photographs, and its publication coincides with inv