Art offers new ways of looking at life and different modes of understanding intellectual principles – in a manner comparable to complex mental exercises. For me, a good exhibition is one that triggers or initiates something, exerts a certain influence or points in a particular direction. The art must work with the space in which it is presented. A spacious exhibition hall, for example, invites the visitor to perceive art as a fundamental creative force, while social relevance or conceptuality can also be emphasized in other kinds of spaces. As a curator, developing exhibition concepts is a way of defining yourself, similar to how you express yourself through what you wear, what you read and how you decorate your living environment. The more you engage with art, the better you understand it; you proceed towards its core in a kind of spiralling movement. This is why I like to work with artists over longer periods of time, as I was fortunate enough to do with Hans-Peter Feldmann, Boris Michailow and Cecilia Edefalk, and I am also keen to involve artists as invaluable sources of inspiration in the conception of exhibition projects.
I have always been interested in combining high culture with aspects of popular culture (as seen for example in the exhibitions “Accessoirmaximalismus”, “Ballermann” and “Cocker Spaniel and Other Tools for International Understanding”), and communicating the resulting insights in a language that is readily comprehensible but at the same time does not undermine the sublime nature and poetic force of art. I am convinced that there are many different ways of looking at art and that these are equally valid. This is something I try to take into account in my curatorial projects (such as in “SEE history 2004. Der Demokratische Blick”). The important thing for me is that people are touched by what they see – the art must spark some kind of connection.
(Dirk Luckow, 2010)