At the heart of my curatorial practice is the art exhibition, not just in terms of its sensual presence but also with regard to its discursive and intellectual dimensions. Having had the opportunity to observe the international art world over many years, I have seen how important it is to recognize the potential of artistic tendencies as early as possible. My objective is to support and promote artists whose work has significantly influenced approaches to and thinking about art, and who are perceived by later generations of artists as having been a major cultural phenomenon of their time. I believe it is essential to question existing aesthetic values and to embrace new perspectives and approaches. Specifically, this means artistic positions which – following in the tradition of an enlightened modernism – develop and maintain an analytical relationship not only to the art business but also to society as a whole.
In the 21st century, the question of the medium is no longer the key issue. My aim is therefore not only to put different genres up for discussion but also to highlight the importance of their interrelation for their respective self-images. Good examples of this are the avant-garde art movements of the 1960s and 70s with their accompanying theories and programmatic approaches, as well as the reception and enduring impact of these movements to this day.
(Karola Kraus, 2007–2012)