Proposals

To submit a proposal for imPERFECT CITY, please refer to our Guide to Proposals.

Artinian Proposal (A Room of One’s Own). Image: 1

Bruck Proposal (Whoʼs Downstream: An Exploration of the Impact of Urban Water Runoff)

Coudrelle Proposal (Radical Reading Room). Image: 1

Finley+Muse Proposal (imPERFECT CITY / imPERFECT STATE). Panoramio.

Giesecke & Dunham Proposal (Utopia Above the Law), Powerpoint. Images: 1 2 3

Giesecke & Dunham Logo Proposal (“The present is pregnant with the future.”). Image:1

Golas Proposal (DCCA’s First Locally Sourced Micro Farm and Cyber Café). Images: 1 2 3

Hudson Proposal (Imperfect Painting)

Leshinsky Proposal (People’s Park). Images: 1Mock Up  / Flyer  / Activity Template

Moin Logo Proposal (“Two Distinct Possibilities“)

Pigford Proposal (Museum of the Hand). Image: 1

Ruszkowski Proposal (Civic Seats)

Ruth Proposal (Running Club). Images: 1 2. Images of past work: 1 2 3 4

Ware & Guides Proposal (Orientation Map– YOU ARE HERE). Images: 1 2

Winn Proposal (Museum without Organs). Images: 1 2 3 4 5 6

10 thoughts on “Proposals

  1. […] each of you kindly take ten minutes to leave a comment on this post reacting to the proposals and your developing aspirations for the exhibition? […]

  2. Note's and Comments by J Gordon on "Who's Downstream" says:

    I. Thoughts and Notes on “Who’s Downstream?”

    A. Gallery Presence
    The primary concern I have for this project is its manifestation in the gallery. The scope and community oriented aspects make this one of the more interesting proposals to me personally. How though can the process be represented within the context of the gallery space. The exhibition itself already seems schematic heavy, so I’m reluctant to suggest anything to much along those lines, but the idea of explaining the course of the water within urban environments was presented as a crucial element. Video interviews were discussed… which is interesting but also ‘dry.’ So how does one go about communicating the information gathered?
    1. Direct: Graphs, tables, charts, schematics, etc. Possibly applied directly to the gallery walls with vinyl or printed on another materials and then attached to the walls.
    2. Analogical: Elements of the information is translated into abstract forms or sounds that then interact to create a composition. I would strongly suggest shying away from any literal translations (ie pictures or sounds of water) and stay with ambient tones and forms. Something that changes over time would seem appropriate as the subject matter refers to the course of water over time. Projected light or sound both seem like excellent ways to engage the entirety of the space, though they should not dominate the participants experience of the gallery. I would recommend working with a video or sound artist in this case so that the ‘struggle’ is to effectively communicate an experience/information rather than trying to grasp the medium.
    B. Perceived Underlying Concepts
    1. Increasing awareness of the flow of water within communities.
    2. Increasing awareness of water pollution from urban runoff.
    3. Water as an increasingly valuable resource.
    C. Brainstorming / Tangents
    1. Drawing ambient water from the space. Perhaps utilizing de-humidifiers to “create water from thin air.” This would also address springtime issues in the DCCA of controlling humidity levels. The collected water could then be used as ‘grey water’ for institutional purposes or whatever else may seem appropriate. Possibly use contact microphones on the collection pool.
    2. Identifying native phyto-remediators. Possibly partnering with the DuPont Environmental Education Center to facilitate activities such as plantings on the riverfront.
    D. Reference
    1. Mel Chin’s Revival Field.

  3. Notes and Comments by J Gordon on "The Chesson & Ware Proposal" says:

    II. Orientation Map

    A. Gallery Presence
    The goal seems to me to create an orientation area or object that has a simple and inviting user interface while providing a clear description of areas and activities in the gallery space. It should also be flexible for other educational uses such as tours and workshops.
    1. Magnetic primer on panels attached to walls, magnets attached to laminated forms.
    2. Dry Erase paint on panels attached to walls. Markers in bins for gallery participants.
    3. “3 Dimensional” table top space with modular units that could be customized. Like building blocks, Lego’s, etc.

    B. Perceived Underlying Concepts
    1. Focal point for facilitating educational activities and orientation, providing an “in-gallery” resource area for the exhibition.

    C. Brainstorming / Tangents
    1. “Sim City” or “Civilization” like computer games in the gallery space or the ING Cyber Café for users to imagine their Utopian Cities.

    D. Reference
    1. Joseph Beuys’ lectures.

  4. Notes and Comments by J Gordon on "Finley & Muse Proposal" says:

    III. Notes and Thoughts on “Inside/Outside”

    A. Gallery Presence
    Currently the primary issue with this proposal is whether this project should manifest within the context of this exhibition. Does the cataloguing and displaying of Delaware’s vernacular monuments divorce the sentiment from the site in such a way as to abrogate their purpose and exploit the very real sentiment attached to them? During the course of the town hall meeting we discussed possibly doing research as to what happened tragedies might have happened at the riverfront or in the DCCA building that would necessitate their own vernacular monument.

    B. Perceived Underlying Concepts
    What are the mechanisms at work in the creation of “vernacular monuments?’”
    1. Memorials for the dead are for the living. The deceased are “present” by proxy / fetish.
    2. Means to “enshrine” memories so as to prevent them from being forgotten.
    3. Cautionary elements for drivers, “Memento Moris.”

    C. Brainstorming & Tangents
    1. Move away from species specific issues, calling attention to the perpetual and usually unnoticed presence of death. Possibly explore “deep time” issues.
    2. Park benches are often dedicated to individuals, perhaps the benches from Civic Seats could be fitted with engraved plaques or some other elements to memorialize specific events or people. It might be interesting to address how one organism (such as a tree) is killed in order to create a memorial for another deceased organism.
    3. Memorialize broader concepts or ideas that would relate to Imperfect City or an imagined future Dystopia/Utopia were certain elements no longer exist. IE: “Here lies Hope.”
    4. An “unknown soldier” type memorial. A monument for X, as in the unknown or variable. A universal memorial, a place to recall and “be” with those specific to the gallery visitor.
    5. In the ancient Mediterranean shrines to the goddess Hecate were placed at crossroads and thresholds for protection and guidance. She is also analogous to Trivia (whom was considered one of her aspects in Rome) or Legba as someone to be invoked at crossroads for access to secret or occult knowledge. Closely related to the dead and necromancy (originally meant as speaking with the dead.)

    D. Reference
    1. Legba veve.
    2. Hecate statuary.
    3. Day of the Dead shrines.

  5. Lynne Templeton says:

    Notes/Comments on the whole…

    I think that all of the ideas/proposals are amazing! I think it would be great to link them all in some way with a contiguous theme. The exhibit begins and ends at the DCCA with a race (Running Club) that follows the course of “Who’s Downsteam?”…to begin, the race starts at DCCA finishing at the midway point where the opening Festival takes place…at the end of exhibit, the race starts midway and continues course back to DCCA for the closing Festival. There can be an add to the water awareness by also researching/tracking other things in nature along the course during the exhibit…animals, plants, birds, insects, etc…Biodiversity…there could be a plant/tree planting or people could build Cairns…the course could include the People’s Park and Civic Seats well.

    At the DCCA, Utopia Above the Law welcomes participants, brilliant…a place to reflect…(I feel it might have a similar effect to the window that you view of the “void” at the Anish Kapoor exhibit that was held at the Guggenheim)

    http://www.guggenheim.org/new-york/exhibitions/past/exhibit/3317

    Moving from the entry exhibit, participants can now take part in building the Orientation Map…I picture that as a puzzle…although, It might be great to make it more of a 3D puzzle instead of a map…it would ultimately create a sculpture…or Cairn. Maybe the puzzle pieces are blocks or the participant designs and builds a block…of different colors and materials…maybe incorporating a self-portrait…or mirror…or transparent material…to reflect back to the audience…or see through it to those who are viewing on the opposite side…

    The ideas for color from many proposals can be incorporated throughout…T-shirts for the race and decorations for the Festival, the blocks or pieces for the sculpture…if filmed from above the moving colors appear like energy…atoms + molecules…maybe colors could relate to themes…fire, water, earth, air…

    Last but not least, I think technology + species, for better or worse…and what are the effects on the environment and it’s inhabitants…also plays a huge role in the display…but I’m not quite sure how to incorporate it into the theme.

  6. Regarding Giesecke & Dunham’s proposal, we (the DCCA curatorial staff) would like to propose printing the Utopia Above the Law signage in large vinyl lettering (approximately 20 + in. high) running along the long wall in Bieber Ham Gallery. The original wall color you proposed was red but we were wondering if you would consider allowing us to paint the wall with blackboard paint so that people could theoretically draw on/graffiti the wall in chalk. We have a vinyl printing machine in house, so the signage would be fairly simple to realize. In addition, to emphasize the museological aspect of your Do Not Touch signage and wall barrier, we thought that another solution to this might be floor tape that we often use as a suggested barrier between the visitor and the would-be “protected” object.

    We also began considering the entire perimeter of the two galleries designated for Imperfect City–Bieber Ham and Dupont II Galleries as the boundary wall and the thresholds between other galleries that are not designated for Imperfect City. We would like to propose adding floor signage to delineate where utopia begins and ends; perhaps it could reading “now entering” and/or “now exiting” utopia as appropriate. Looking forward to your thoughts. -DCCA

    • 41_Utopia says:

      41_Utopia is thrilled that the DCCA curatorial staff would like to work with us to realize Utopia Above the Law! We also agree with the blackboard concept—this will more readily encourage citizens, travelers, and tourists to participate with commentary—hopefully recording a living history of the imPERFECT CITY. We also like the impermanence of chalk (colored of course!); like all human endeavors, cities are mere bivouacs in the big scheme. We are additionally supportive of a boundary condition for the imPERFECT CITY. As we are all aware, utopia cannot be penetrated; only minor excavations at its perimeter may be undertaken. However, “utopian space” can be explored through utopian critique, and we feel the sign-posted thresholds at the galleries’ access points satisfies the criteria for admittance to and exit from this rarified space.

      41_Utopia

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