For me, working as a curator means very consciously maintaining a mixture of analysis and critical practice. On the whole, artistic and curatorial practices automatically oscillate between the role of the user of an already existing visual culture and the role of an active producer of critically revised conceptions of this culture.
The project to establish a new mode of interdisciplinary research into visuality is a crucial focus of my curatorial work. The analysis of present-day visual culture as a specific cultural, social, political and aesthetic phenomenon urgently raises the question of the legitimacy of traditional institutions and notions of art.
As a curator for contemporary art I am working constantly with transdisciplinary tasks: present-day artists are interested not only in art-historical heritage but also in cutting-edge visual culture, as well as all manner of available theoretical aids that can explain these phenomena.
The investigation and study of comparative cultural and visual phenomena is a key aspect of my research. Even in my PhD thesis, “Reframing the 80s: Visual culture and the picture generation”, I was already concerned in depth with visual culture, which in the English-speaking world is closely aligned to the research undertaken in the related sphere of cultural studies. As a branch of cultural studies that examines the relations between socio-cultural practice and power, visual culture explores the ways in which power is visualized in the present world.
Andrea Kroksnes (2007)