Download Double Exposures: Performance as Photography, Photography as by Manuel Vason PDF

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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 photographs and essays to discover new methods of bridging functionality and images. Ten years after Vason’s first publication, Exposures, this bold undertaking attracts into sharp concentration the physique, the diptych, documentation, the photobook, id, mediation, collaborative practices, and the connection among images and function. With essays by way of top critics, lecturers, and practitioners, this assortment solidifies Vason’s centrality to the images of performance.
Copublished with the stay paintings improvement employer (LADA).
 Published with the aid of Arts Council England.

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Vason’s photography beckons us towards the event in the present tense, away from evidence in the past tense, towards the ethical and away from the merely evidential. 1. ’ and Other Essays, trans. by David Kishik and Stefan Pedatella (Stanford: Stanford University Press, 2009) pp. 1-24 (pp. 2-3). 2. Jean-François Lyotard, ‘Representation, Presentation, Unpresentable’, in The Inhuman: Reflections on Time, trans. by Geoffrey Bennington and Rachel Bowlby (Stanford: Stanford University Press, 1991) pp.

Does this positioning imply perhaps a reversal of subject/ viewer relation or the convergence of surveyor and object so that one position is mapped onto the other so that the two become indistinguishable? Is this the distinguishing radicalism of Vason’s work? I want, immediately to say no, no, no: Vason’s work is radical precisely because it achieves neither reversal nor convergence. Congruence is as good as it gets, either through inadvertence or an advertent refusal to accept the fixed terms of seeing that his apparatus provides.

Or rather, it puts the photographer alongside the performer, engaged in the same activity or something akin to it. We can see this immediately in the collaboration with Alastair MacLennan, with its mirroring of posture in the two hunched figures in similar milieus. We can see it even more clearly in the collaboration with Franko B, where there is a reversal of the body, in the pairing of the two photos, as if there were a hinge between them that turned negative into positive, or vice versa. There is an insistence of sameness and an elision of difference in identity between performer and photographer.

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