2020 Double Vision

IPEP India 2020 Double Vision – Catalogue .pdf, 1.6MB


2022, 02 November – 02 December. Art Gallery Serdica, Sofia, Bulgaria.
Organised by Rumyana Karastamova.

2022, 21 October – 30 November. Gravurar, Santos/São Paulo, Brasil.
Organised by Julian Campos.

2022, 12 February – 14 April. Kunsthuset Kabuso, Øystese, Norway.
Organised by Judith Elisabeth de Haan.
Announcement on FB, FB photos

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 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 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.


Sitara Chowfla, India - Curator, IPEP India 2020
Sitara Chowfla, India
Curator, Writer,
Art consultant


Chloe Carroll, UK - Writer, IPEP India 2020
Chloe Carroll, UK
Curator, Writer


Sukanya Deb, India - Writer, IPEP India 2020
Sukanya Deb, India


Adarsh Palandi, India
Adi Sundoro, Indonesia
Al-Qawi Tazal Nanavati, India
Amit Lodh, India
Anant Nikam, India
Atsuko Honda, Japan
Avni Bansal, India
Bikash Acharjee, India
Dilip Sharma, India
Elizabeth Kwant, UK
Fiona Kelly, Ireland
Gloria Quispe Tinco, Perú
Ioannis Anastasiou, Greece
Jayasimha C., India
Jimmy Khatri, India
Johann Booyens, UK
Judith Elisabeth De Haan, Norway
Julian Campos Da Silva, Brasil
Katsutoshi Yuasa, Japan

Manolis Angelakis, Greece
Nilanjan Das, India
Prabhakar Pachpute, India
Purnima Ngangom, India
Ramendra Nath Kastha, India
Rebecca Holmes, UK
Royalkriss Thangjam, India
Rumyana Karastamova, Bulgaria
Sama Rahmani, Iran
Sancho Mitzy, Costa Rica
Sanjeev Sonpimpare, India
Saurabh Narang, India
Shivangi Ladha, India
Shraddha Kumbhar, India
Soghra Khurasani, India
Subrat Behra, India
Temsuyanger Longkumer, UK
Victoria Bilogan, Australia