My exhibition practice focuses mainly on presenting groups of works by individual artists. In order to make the best use of the exhibition space at the Kunstverein Nürnberg, these are primarily artists who create sculptural works or large-scale installations. The exhibitions by Phyllida Barlow, Thea Djordjadze and Katinka Bock, for example, shared a rough, straightforward materiality and a humanistic conception of art as something that is “made” and possibly also improvised. These kinds of altered situations in the exhibition space, and likewise the sculptural objects that make no secret of their origins as artefacts of the production process, can be explored as spaces of experience and reflection, as models of perception and as invitations to act. They reveal a characteristic feature of art, inasmuch as it can be accessed via different, winding paths and using various logics. This was also a central theme of Christian Jendreiko’s exhibition “Heterologics”: it could not only be experienced as an acoustic and installation space, but also included “actions” in the Kunstverein and at other locations throughout the city, where a number of people played musical instruments in response to the artist’s introductory texts. In this way Jendreiko exerted a formative influence upon the participants’ movements.
A fundamental principle of my curatorial practice is to open up new spaces of thought with exhibitions that are organized in close collaboration with the artists concerned.
(Kathleen Rahn, 2011)