Anyone who takes the current situation of contemporary art seriously recognizes that art has become increasingly orientated towards social communication contexts, without, however, allowing these to be watered down into pseudo-services. This development does not necessarily involve removing art from its referential relationship to an image or object. The realization that in art, inventions are now only to be made on the level of technical equipment simultaneously provokes increased interest in its content.
There is no need for curators to perform intellectual acrobatics. They do not have to amaze us with an exchange of so-called innovations or offer us theories on the development of aesthetic constructs, because the degree of surprise generated by an exhibition or project actually occurs on the easily accessible level of dialogue between different pictorial concepts, and these ultimately revolve around the fragmented reflections of our existence as it breaks free from its established coordinates.
Curators are not required to place themselves before art – it is enough for them to stand in its shadow.
(Christoph Tannert, 2009)