I like the wide spectrum contemporary art offers me in my work as an art historian. Within that context, I consider mediation and practice, political impetus and visual significance of artistic postulations to be aspects at eye level with one another. I see myself as a curator in the literal sense in connection with each specific exhibition project, and I find the work in traditional museum structures, in the independent art field and in public spaces all equally interesting. It may not be particularly popular to speak of a “curators' craft” in conjunction with the discovery, installation and mediation of artistic concepts. In addition to discursive and contextual deliberations, however, the spatial and intellectual accessibility of a presentation are also matters of primary importance for me. In my eyes, an exhibition choreography is successful if it democratizes contemporary art and breaks through the “circle of the adepts”.
Perhaps that is why I have enjoyed working with participatory and socially dedicated art in the past years. When I work in rural areas or on other kinds of art scene peripheries, I become much more aware of the cultural responsibilities of curatorial and art publication activities than in established contexts. In this work on the peripheries I also like to take risks, as in my present activities with communal initiatives in Ghana. My global radius - whether publication projects in Russia or Egypt or the investigation of feminist currents - puts me in a position of constant learning. This approach is one aspect which fascinates me about critical contemporary art, and which has strongly influenced me in my collaboration with and selection of women artists.
Susanne Altmann (2013)