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The Double Vision exhibition comprises fifteen installations from the sixties to today which have two or more screens. One of the earliest examples of video art is the double projection Outer and Inner Space (1965) by Andy Warhol. Warhol made a film and videoportrait of society phenomenon Edie Sedgwick by interviewing her next to a video recording of herself and doubling that image. In this character study he analyses the two different media worlds of video/television and film.
Double Vision has a number of recurring themes. The Third Memory (1999) by Pierre Huyghe is about the interlacing of reality and fiction, and memory and the media. Huyghe shows two different visions of the same historical event next to one another. The media is also the point of departure in the work by Harun Farocki and Frank Scurti. Scurti is interested in mass media. His work is based on a critical analysis of television images and advertising clips. In Colors, an installation with three screens, he uses existing television footage of an extraordinary rugby match and gives these images a new meaning. Farocki's work is about the politics of the image. In Auge/Maschine I, II and III he uses, among other things, (live)footage broadcast during military operations such as those carried out during the Gulf War and in Iraq today: what is the influence of technology and media on public opinion and on our behaviour?
Double Vision comprises two kinds of works. The exhibition has installations that 'loop', where the moment at which you start watching is irrelevant. Ange Leccia's Les éléments (Orage) and Aernout Mik's Parallel Corner are both examples of this. But most of the works shown have a narrative structure. Artists like Tracey Rose and Stan Douglas, for instance, use two or more screens to tell a story from two different perspectives. This is also true, but to a lesser extent, of the installations by Martijn Veldhoen and Sebastián Diaz Morales: both world premières at the festival.
The festival has mapped out a route through the exhibition. If you follow this route at the times given, you can see all the works in Double Vision from beginning to end.
Why do artists use this technique? How do these projected video images relate to one another? Questions like these come up for discussion in the Meet-the-Artist programme. The catalogue also goes more deeply into the artists' motives and their different approaches.
The title Double Vision also refers to the unique character of the exhibition. In a number of spaces a different work can be seen in the evening than during the day. Spectators can, thus, see two different exhibitions in one day.
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