In medical terms, double vision, or diplopia, is a condition in which a person sees two images of a single object. The condition has a number of potential causes ranging from an irregularity of the cornea to brain trauma caused by injury to the head, and can sometimes even be brought on by stress. Whatever the cause, the result is seeing a blurred or doubled image — the original and its ‘ghost’. A whisper or a shadowy spectre of the original form which distorts the viewer’s perception, confusing what is really there with what is not.
In film and literature the idea of double vision is somewhat less morbid and instead serves as a commonly used narrative technique that allows the audience to explore multiple points of view from a single vantage point. The idea of a double could be used to explore a plot from the various possible experiences of a single character. Such as in Tom Tykwer’s 1998 film Run Lola Run, in which the audience consecutively views the same narrative three times, with only slight deviations to Lola’s journey each time. Or in Strange Case of Dr. Jekyll and Mr. Hyde — a highly referenced 19th c novel by Robert Louis Stevenson in which the titular character embodies two completely opposing personas trapped within one body. Although only one person, both personas see and experience the world in an entirely different way than the other; a kind of double vision embedded into a single set of eyes. The use of the double has allowed writers, filmmakers and artists to bend time, to alter perception and to move freely between the reality of the ordinary world and the phantasm of the imagined one.
Printmaking as a process is no stranger to this intentional dualism either. The inversion of an image from plate to a substrate; the application of a single image through multiple layers; and the intentional misregistration of the printed image to create experimental outcomes are all tricks are techniques inherent to creative print practice used to create both visual and narrative depth.
For the 2020 edition of the International Print Exchange Program, India, ‘Double Vision’ is presented as both a conceptual and technical provocation inviting playful responses in the search for one’s inner dyad.
20 June 2020. Jury and Selection.
Entries will be short-listed by the curator and finalists duly informed. They need to confirm their willingness and ability to hold an IPEP portfolio exhibition. Only those who reply in the affirmative can proceed with the final submission.
WHO CAN APPLY?
- Those who are sure of organising an exhibition of the portfolio received as part of this exercise.
- Any practicing artist who is familiar with traditional hand-pulled printmaking. They need not strictly be professional artist-printmakers.
- Practicing artists irrespective of their academic background, 22+ years of age, from anywhere in the world.
WHO CANNOT APPLY?
- Those unsure of being able to organise an exhibition of the portfolio received as part of this exercise.
- Past portfolio holders who failed to organise an exhibition.
- Finalists/ portfolio holders from 2019. (They can apply again in 2021.)
- Past finalists who did not submit prints.
TERMS AND CONDITIONS
- NO ENTRY FEE at any stage of the process.
- English is the default language. Any miscommunication due to faulty translations(by a human or automated/ digital) will not be IPEP’s responsibility.
- Incomplete/ faulty registrations and final print submissions that are not in the exact sizes/ formats/ media as specified in the guidelines will be rejected. IPEP will post them back solely at the participant’s expense.
- If any printmaker/s fail to submit final prints within the deadline, numbers of portfolios will reduce and the resulting extra prints (submitted by others) will be sent back to the respective printmakers along with the compiled portfolio.
- IPEP will not be responsible for any loss or damage of prints in transit both ways. While sending back portfolios, IPEP’s responsibility ends with handing over the package to India Post and communicating details to participants. In case of non-delivery and return of portfolio (due to any reason such as loss in transit/ unclaimed package/ wrong address in registration form/ rejection from customs/ etc.), IPEP will make attempts to recover the portfolio from India Post and re-post if and only if the participant wishes to bear all the costs involved and pay in advance.
- IPEP expects the participants to keep posting their work process on Facebook and Instagram for motivation. They should not post or share the final or cleared image of the print anywhere online as it may affect the value of the exhibitions.
- It is mandatory to publicly exhibit IPEP portfolio in/ around your locality (e.g.: studio, home, gallery, school, community space) and share all related documentation(photographs, video, publications, etc.) openly on IPEP social handles. Select material in high resolution may be requested by IPEP for promotional purposes.
- If multiple participants belong to the same locality, they can pool in resources and have a common exhibition of IPEP portfolio. Additional activities like demonstrations, workshops, etc. are expected in this case.
- Participants give the rights to IPEP India, portfolio-holders and exhibition organisers to store, exhibit and reproduce submitted data and artworks for IPEP related activities and promotional purposes.
- Participants waive all rights and compensations for the final prints they submit. Receivers are their respective portfolio’s absolute private owners. They are free to keep/ donate/ gift/ sell them in part/ whole and are under no obligation to share the information or incomes with anyone.
- IPEP 2019 portfolio-holders are not allowed to enroll for 2020. They can apply again in 2021.
- Participants who have failed to exhibit their IPEP India portfolios(2018 and earlier) will not be entertained for future editions. IPEP will start considering their applications again if they hold an exhibition(even a delayed one) of their own portfolio or any other editions.
- Artists whose names made to the final lists in the past, but failed to submit their prints are not eligible to apply.
- International Print Exchange Programme (IPEP), India is a ‘non-profit initiative’ of founder, director and artist-printmaker Rajesh Pullarwar. There is no active involvement of any kind(by nature of commerce, association, partnership, memorandum of understanding, etc.) of any institution/ gallery/ government or private bodies in its routine functioning. IPEP’s decisions will be final and binding throughout the process.
- Terms and conditions are subject to change without notification at IPEP’s sole discretion. Registration/ submission to the programme through the website or by invitation assumes acceptance of these terms. Any conflicts arising out of this arrangement will be settled in the courts of Mumbai, State of Maharashtra, India.