One of my primary concerns is to develop concepts for exhibitions and projects that allow these to be perceived as sensuous and radical statements on the current state of society. I consider myself fortunate to be able to work directly with contemporary artists and at the same time draw upon works of 20th-century art in order to highlight particular historical and social themes or transitional developments. The exhibition Marc, Macke and Delaunay, for example, focussed on friendships between French and German artists on the eve of the First World War, while The Other Side of the Moon – an exhibition on women artists in Europe in the 1920s – explored not only the artists’ work but also their communication structures and networks.
In projects and exhibitions where I am working directly with contemporary artists, on the other hand, my aim is to encourage an examination of the specific institutional conditions, including the architectural context, the artistic surroundings and the viewing audience. Examples of this approach include Intensive Care, 2010, and the long-term project Artists’ Rooms at the K21. I consider personal collaboration to be particularly important because in many cases an artistic stance attains its greatest intensity through dialogue and direct engagement with the space. Examining the conditions of production in the exhibition venue demands utmost concentration on the part of the artist and generates a unique configuration and density in the resulting work.