apexart :: Unsolicited Proposal Program 2013-14 Results
Unsolicited Proposal Program 2013-14 Results

Unsolicited Proposal Program 2013-14 Results

Thank you for participating in the 2013-14 Unsolicited Proposal Program. We received 765 proposals, 697 of which were eligible entries, from 74 countries that were voted on by an international panel of 139 jurors. Jurors were asked to read at least 50 anonymous proposals. Nearly 6,000 votes were cast to determine the winning proposals.

The proposal with the highest score was submitted by Martin Waldmeier (London, UK); the second highest scoring proposal was submitted by Avi Lubin (Tel Aviv, Israel); the third highest scoring proposal was submitted by Ceren Erdem, Jaime Schwartz, and Lisa Williams (New York, NY).

Please note: Proposals are ideas for exhibitions. No details, including artist participation, have been confirmed.

Click here to view a ranking of all submitted proposals.

Death of a Cameraman


submitted by: Martin Waldmeier


On June 29, 2011, in the neighborhood of Karam Shami in Homs, Syria, a young man stands on the rooftop of a building. He uses his cell phone to document gunfire taking place in the streets below as his camera suddenly catches sight of a gunman on an adjacent balcony. For a brief instant, the cameraman and the gunman directly face each other. A single shot is fired. The camera falls, and with the cameraman's death, image and reality collapse into one.

In the wake of the Arab uprisings, the anonymous cameraman has emerged as a powerful new figure in the politics of representation. Not press photographers, not filmmakers, not artists, these courageous men and women document violence that surrounds them as a means to fight back, while at the same time carrying the biggest stakes in the telling of their story. In doing so, they create images that do not depict violence, but are visible manifestations of it; images that do not seek to create viewers, but witnesses. "Death of a Cameraman" revolves around a powerful moment in which the making of an image becomes a matter of life and death, with the camera functioning both as an extension of the eye and as a weapon.

The show will by anchored by the original video captured by the killed Syrian cameraman, shown alongside artists whose work sheds light on the space between the camera and eye and between documentary, documentarists, and the documented. Rabih Mroué's "Pixelated Revolution" investigates the phenomenon of death behind the camera. Based on original videos found on Youtube, Mroué has, amongst other things, produced large-scale enlargements of still frames with perpetrators on them, seeking the split-second moment of hope – and potential justice - when their faces can be seen and their actions recognized. Hrair Sarkissian's "Execution Squares" depict scenes of past violence in Syrian cities. Taken in 2008, the paradoxical absence of any signs of violence in these photographs not only references the invisible social and political history of such sites, but tragically sets the stage for the violent events taking place today. Sam Smith's object installation, "Untitled (Lenses)" explores the apparatus of the broken camera lens as a monument-like sculptural object, permitting a reading of the camera as a "prosthesis" of the eye. In Rudolf Steiner's series "Pictures of me, shooting myself into a picture", the artist fires a bullet at a camera, resulting in a puncture that generates the image.

The exhibition will be framed by selected amateur videos from Syria, including footage of crowds singing the song "Come on, Bashar" by Ibrahim Qoshush – a Syrian amateur poet killed for creating a voice for the uprising. His song (and its rhythmic, ecstatic recitals in daily and nightly protests throughout Syria) epitomizes the breakthrough of hope experienced in the early days of the uprising, yet it also translates the sense of courage and urgency that has fuelled the protester's desire to take a stake in – and shape – the events as they unfolded.
 
The Hidden Passengers


submitted by: Avi Lubin


Scientific research aspires to systematically build and organize knowledge, to explain and understand the universe. The role of art in scientific research was once very clear. Andreas Vesalius' detailed anatomical diagrams, for example, were produced by commissioned artists. The artists' presence at the dissections, help Vesalius to produce the first accurate set of diagrams. It was not only of much better quality than those produced previously but was also considered an instant classic.

The relations between art and science are not so clear anymore, and yet many artists use the language, tools and methods of scientific research. The exhibition argues that by adopting scientific practices and tools, art does not ask to understand the world, or merely observe outside of it, but rather to participate in the world.

Pierre huyghe's A Journey That Wasn't (2005) merges two events: an Antarctic expedition in search of an albino creature rumoured to exist on an uncharted island exposed by receding ice, and a re-enactment of that voyage as an elaborate concert and lightshow in Central Park. Thus he navigates between fact and fiction, proposing that reality is so unbelievable that "to tell it the right way, you must tell it as a fiction."

Tomer Sapir investigates cryptids, animals for which there is no scientific proof and which are not identified in the official zoological index. His ongoing project "Research for the Full Crypto-Taxidermical Index" is a coming into being lexicon of objects, mutations suspended between the organic and the artificial, the seductive and the threatening. The world introduced by Sapir is underlain by a duality between the use or imitation of nature (the findings of a researcher, gathered leftovers or findings, traces of what once was) and what is quintessentially man-made (sculptural works, use of synthetic materials). It is precisely this dichotomy, however, which makes for a space and time where Sapir's sculptures/creatures may exist, a gray area which sustains a tension between history, mythology, and fiction.

Guido van der werve is immersed in his works in a sublime landscape, trying to find his place in the universe. In the work Nummer acht: Everything is going to be alright (2007) we see him walking in front of an enormous icebreaker in the dramatic landscape of the Finnish Gulf of Bothnia. Van der Werve continues forward while the icebreaker keeps pace, breathing down his neck. Walking on imperturbably is his only chance, and as long as he keeps up his pace, everything is going to be alright. In the work Nummer negen: The day I didn't turn with the world , the artist traveled to the geographic North Pole and stood on the exact axis of the world for 24 hours, turning clockwise while the earth under him turned anti-clockwise. Due to this counter-movement, he and the world were desynchronized for one day.

The exhibition will feature the work of eight artists - Pierre huyghe, Guido van der werve, Tomer Sapir, Thomas Feurstein, Jenny Michel, Michael Hoepfel, Roxy Paine and Mark Dion.
 
Private Matters

submitted by: Ceren Erdem, Jaime Schwartz, and Lisa Williams


In recent years, it has become increasingly apparent that the revelation of classified information and confidential documents is no longer the sole province of journalists or fodder for Hollywood films. Today, public access to what once was considered privileged information is a social reality, pointing to broader changes in the construction of our relationships and emphasizing the fact that - in our networked environment - virtually no information is private anymore. In the era of WikiLeaks, the codes are written to be broken and so are the rules. Private Matters will bring together a group of artists who, through individual strategies of sharing various kinds of secure information with the audience, blur the boundaries of the public and private. In this context, personal secrets are revealed, security measures of institutions are tested, and even the mysteries of outer space are made into common knowledge. These works share a reliance on technology, which has become an integral factor in the way that we interact with others in the information age; through various media, we share our statuses, moods, and follow each other in an endless voyeuristic cycle. By investigating these phenomena, the artists in this exhibition are able to effectively interrogate a range of personal and collective myths.

Artists will include Nilbar Gures (USA/Turkey), who in works such as Webcam Sex; Queer Solo (2012), looks at how information is shared on a very personal level and depicts seemingly bizarre scenes on fabric, the source imagery of which is derived from live webcam sex broadcast on the Internet; Maria Antelman's (USA) video work, Moonlight Serenade (2009), juxtaposes dreamy black-and-white images from the 1960s of the lunar surface with random shortwave radio transmissions thought to be the recordings of encrypted military espionage. The coupling of these expressive registers - a sense of hopeful possibility comingled with single-minded paranoia - implicates this specific moment in history; Pilvi Takala (Germany/Turkey) observes people's reactions in specific cultural situations or microcosms to critique the level of control - and the resultant paranoia - people have come to expect in society today. In her video, Broad Sense (2011), she sneaks into the European Parliament in Brussels, testing the security of governmental institutions; Becca Albee (USA) and Kathleen Hanna (USA) investigate physical and personal implications of the "private." Their installation In Case Of, New York City (2009), presents objects that women living in New York City identify when asked, "What do you carry that gives you a sense of security?" These everyday objects signify talismans adopted by individuals to ward off secret fears and threats; Stephanie Syjuco's (USA) work is strategized to both reveal and create mysteries for her audience. Phantoms (H_RT _F D_RKN_SS) (2011), comprises video, public domain texts, plants and tables, assembled in a matrix of clues that are offered to viewers to decrypt; and Jennifer Tee (the Netherlands) explores correlations between sculpture, space and mythology in Local Myths (2010).