As an art historian, one of my main concerns is to make the explosive nature of history perceptible in exhibitions, but at the same time to highlight the questions being posed in the present. As a result, I often deal with unexpected contextualizations, which create uncertainty, uproot people from accustomed manners of perception and – this is the prerequisite – increase the effect the respective works of art have on their audience. The work with breaches, and also the play with the weaknesses of a collection, is based on the basic assumption that failure and destruction are closely connected to creation. Works or exhibitions that polarise, that create doubts, often embed themselves much deeper in the mind and develop their impact gradually.
For me, another important theme is the exploration of areas on the fringe of the art system (applied arts, design, architecture, fashion). The task here is to free the works of art from their position of autonomy and to place them in settings or in juxtaposition with, for example, works from the field of applied art. This approach can lead to particularly appealing and stimulating presentations.
The sensual aspect of the presentation is a basic requirement. Even in the case of thematic exhibitions, ideally everything should be communicated by the visual and sensual power of the works of art. The communication of the works in texts, commentaries and audio guides should only be a supplementary service.
(Marion Ackermann, 2007)