Exhibition

	Stéphane Bauer
	Zorka Lednarova
	Caroline Lund
	Doreen Mende
	Shaheen Merali
	Christoph Tannert

Panel
Images

Born 1973 in Sweden. Artistic education at Universität der Künste (UdK), Berlin, 1996–2002. Cultural Production at Malmö University, Arts and Communication, 2003–2005. Lives and works in Berlin since 1993.

My interest is how art, in different ways, can cooperate with politics and economics. In the last years I have been acting, sometimes as an artist (with the artistgroup PM) and sometimes as a curator, in the context of self-organized projects, including interventions in city spaces or other public locations. The Exhibition ”Utopia Station” (Lund, 2004) was an attempt to activate, influence, and make possible critical reflections in urban space through art. The idea was to create an exhibition in a public place where artists and artist groups can work with political themes in a critical and new way. „Screening in der Leerstelle” (Berlin, 2004) was a videoprojection showing different strategies of artistic interventions in the public. Actually I’m working in a research-project, "Design Articulations", at the Academy in Malmö. I’m also developing a curatorial project with the .

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Exhibition concept:
Strategies

I work on forms of artistic practice and strategies. Strategies define fundamental ways of action and are situated on the interface of the artists’ self-image and the precarious conditions of work on the art market. Are such strategies invented mainly by the artists themselves, that is, invented from the inside, or rather from the outside, that is by the agents of the art market? Are these genuine artistic methods of work or tactics that have been adopted by artists? Today, “traditional” artistic strategies, such as a definite and characteristic style tend to wander upwards (towards curators or institutions). How do artists react to such changes? What kinds of (contra-)strategies do they come up with? Which artistic strategies still promise to be successful today?

Choosing positions from the , I 1) created a diagram of current artistic strategies; 2) chose positions containing one or more of these strategies. I find the following strategies in the works I chose: spectacular interference, self-organization, feminist/critical art practice, importation of social authenticity, relational/situational practice, reduction (for example on human relationships), fake, participation, anonymity, communication as platform. My aim in combining these works is not to create a visual image, but a model that renders visible various strategies and allows to compare them.

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