I regard an exhibition as a spatial and intellectual platform for the realization of artistic projects; ideally it challenges our accepted view of the world and our perspective on life.
Exhibitions enable us to experience and understand artistic approaches and positions in a spatial and emotional context. As manifestations in space, so to speak, they are a medium sui generis whose impact can be extremely complex and unpredictable. With the emergence of the historical avant-gardes in the early 20th century, and above all as a result of the developments that took place within art during the 1960s, what generally constitutes the exhibition process – the act of gathering together, ordering and presenting artworks for a limited period of time in a more or less publicly accessible space – has increasingly become a focus of critical debate. The inclusion of spatial and contextual issues into artistic approaches, the consideration of an artwork’s site-specificity, the emphasis upon the conceptual and processual nature of art, and the integration of the viewer as a constitutive element of the artwork – are some of the factors that have challenged conventional forms of art exhibition and have simultaneously given the exhibition its undisputed status as the medium of today’s avant-garde art.
(Brigitte Kölle, 2009)