For me, curating and staging exhibitions means being able to connect diverse forms of knowledge and study and also to challenge their visibility. Since the advent of modernism exhibitions have become a complex and diverse medium of communication and debate. At the same time, the crossover practices and critical positions towards institutions that have been developed by the arts since the 1960s are some of our most important present-day traditions. One of the key objectives of my work is to determine what forms of institutional practice can be found in order to embrace both of these aspects, and how they can be used to develop a dynamic and critical approach to the discussion of contemporary cultural and political themes.
The programme I have devised for the Künstlerhaus Stuttgart is conceived as an open discourse. It is developing over time from different conceptual strands that repeatedly interact with other elements of the programme and thus form a continuous process of exploration. This manifests itself in a variety of ways: thematic exhibitions, solo shows, discussion-based events, film programmes and publications are equally important components of our programme, with varying ‘intensities’ and engaging different public audiences. For me it is particularly important that within this comparatively small institutional framework a large number of projects are produced especially for the respective exhibitions and address their specific contexts. Local and international issues, productions and discussions can therefore be interconnected in an experimental way with the aim of creating a unique space for research, exchange and communication. In this sense, curatorial practice is a process involving many different parties.
(Axel Wieder, 2008)