Dan Auluk is an artist-curator living and working in Birmingham, UK.
Auluk's arts practice is interested in the making of art activity (as medium) and the experiences shared through experimental collaborative approaches. The art activity includes experimenting with text, spoken word, sound, video, performance, participation and intervention, manifesting as live art collaborative performances that invite audiences to take part. This live art attempts to blur the boundaries betweeen artist, curator and audience, exploring alternate ways of activating spaces and audiences and destablizing the conventions we are used to, when experiencing art in an exhibition context.
Can be defined as:A plan or suggestion, especially a formal or written one, put forward for consideration by others - Oxford Dictionary 2012
In this project we are more specifically considering ‘the proposal’, in the context of the application process for exhibiting artwork.
It is notable that this phase of the process remains unseen to the public. Our aim is to question this occurrence and actively offer an alternative process through which all proposals received are (made viewable/showcased?) to the public. The possibility of a proposal becoming a discreet work in itself is tested, while acting as a catalyst to generate new works arrived at through participatory exchange between artist and curator. In exploration of these roles, their boundaries are blurred further through experimental practice.
Since ‘Festival Proposals’, Ingleby Gallery 2006,(was this the first proposal based work he did?? - i’m really not sure - have a look at attached pdf of his CV ) Peter Liversidge’s series of work involving proposals highlights the amount of proposals that go unanswered but also their cumulative worth.
“… the process is also about the notion of creativity: it’s important that some of the proposals are actually realized, but no more so that the others that remain only as text on a piece of A4 paper.”
Liversidge has experimented with ways of exhibiting his proposals, such as through performance, books and publications, or waiting for a gallery to relent and select one leaving hundreds unacknowledged.
While feedback can be obtained on occasion if actively pursued, it is often undervalued or deemed unfeasible. By calling out for more proposals than could conceivably be realised (fully), we hope to consider further how a multitude of propositions could be exhibited. This project deliberately does not present a straight forward ‘pass or fail’ scenario with regard to the artist’s proposal. As a result, feedback is substituted with a creative response that leads to an unforeseen output.