Where is the place of art, the place of art production and creative processes? Who is responsible? And: What is the audience? These questions and their continual renegotiation form the framework of my curatorial activities in an increasingly uncertain social field.
Going against the global trend towards the systemization of curatorial practices, I see my work in the sense of providing a communicative link or hinge function that has to be adjusted and calculated to suit the demands of the situation. The objective is to optimize the conditions of artistic production and at the same time to intensify the dialogue between producers and communicators of art. This also involves questioning one’s own viewing habits and refining one’s visual skills. It is important to engage and involve the art audience in this process, but without throwing art’s sensuous qualities and its claim to autonomy overboard.
Instead of providing arguments for curatorial theories or overriding political solutions, my chosen method opens up realms of negotiation and protection for very specific individual approaches, a place where they can be tested in the respective artistic language on the basis of artistic authority, fascination and the unbroken 'will to form’ (Kunstwollen) – in other words of intuitive, emphatic categories that must be set against the growing fear of uncertainty and loss of control.
The result of such considerations may be undirected and open-ended but it is not necessarily experimental or indeed arbitrary. In fact it offers to perception the possibility of pleasurable experience and can promote the autonomy of the individual through unexpected imaginative or associative leaps. An essential aspect of this process is the constant and critical examination of the individual instruments used in the recognition and evaluation of artistic quality, which should be disclosed apart from exoticism, cultural robinsonades or curatorial guerrilla tactics – not just in order to guarantee the participation of potentially interested individuals, but also to ensure the lasting effect of consolidating their aesthetic competence.
Marcus Lütkemeyer (2008)