Current
Talk on January 8, 2022 at the Centre Pompidou
Intro
A recurring interest in my curatorial practice is the linking of artistic discourses with social issues, for example in Circular Flow: On the Global Economy of Inequality (2019/2020), Martha Rosler & Hito Steyerl: War Games (2018), System und Symptom (2014), Public Folklore (2011), The Symbolic Commissioner (2010), Idealismusstudio (2008), Die Blaue Blume (2007), A Person Alone in A Room with Coca-Cola-Colored Walls (2006), We Invite all @sozialstaat (2005), Get Out! An Exhibition on the Subject of Going Away (2002), Eine Munition unter anderen (2000) or, It Is Hard to Touch the Real (2001–2006).
Furthermore, I value engaging with solo exhibitions of either emerging artists or sometimes devoting my energy to hitherto less illuminated, underestimated aspects of the work of well-known artists. For example, the very first 10 years of the work of artist Isa Genzken [Works from 1973 to 1983], 2020–2021, or the complete video and film oeuvre of artist Richard Serra [Films & Videotapes], 2017.
Exhibitions are imaginary places, temporary gatherings of different actors and ideas. They are forms that emphasize the synthetic nature of all concepts. As such, they operate with the awareness that “truth” is something artificial and temporary; non-total and mediated. Conceived in this sense, they may contribute to counteracting today's new tendencies toward totalitarianism.