黑料不打烊

W眉rttembergischer Kunstverein sees itself as a venue for an open examination of the manifold approaches and practices of contemporary art 鈥� and their far-reaching social fields of reference. Here, open implies above all that we do not regard art education as tying it down to a determinable discourse, but rather as activating multilayered and contradictory interpretations.As an institution, the Kunstverein offers ways of seeing art that nevertheless remain open and, ideally, tangible and questionable: what we want to create is sources of friction.

Very much in line with Antoni Muntadas鈥� statement 鈥淲arning. Perception Requires Involvement鈥�, the aim is to promote involvement, participation in art as well as a critical detachment from it. Contemporary artists have extended their practices into widely ramified areas of society over the past forty years, overtaxing classical institutional structural conditions in an extremely creative manner. Today, they operate between the role patterns of artists, curators, magazine publishers, designers, architects, documentarists, programmers, web forum operators, independent institutions 鈥� and many more. They create their own locally and globally entrenched networks, that, parallel to the art business, produce critical and participatory spaces of communication and action. Artists are constantly redetermining 鈥渃lassical鈥� media such as drawing, painting, sculpture and, meanwhile, photography and video art. They have appropriated the Internet, software, computer games or mobile telephony as a field for artistic experimentation.

For an institution such as W眉rttembergischer Kunstverein, that sees itself as an interface between the mercurial practices of contemporary art and its manifold audiences, this primarily means expanding our own formats, functions and education practices. A key approach towards this end consists in generating the Kunstverein鈥檚 programme on the basis of both local and international networks. In addition to projects we curate ourselves, this means regularly inviting freelance curators and institutions to conceive exhibitions, film programmes, workshops, etc. for the Kunstverein or to showcase their own projects here. On this basis the aim is to give rise to a programme reflecting the heterogeneous nature of contemporary art as well as heterogeneous curatorial approaches. W眉rttembergischer Kunstverein is primarily a venue of contemporary art. For this reason 鈥� given that contemporary art has long ceased to obey any narrow canon 鈥� we are constantly, and from different perspectives, focusing on such fields as architecture, urban planning, economies, political and social developments, film and technologies. Exhibitions such as 鈥淐ontenance鈥� (2005) or 鈥淒an Perjovschi, Fernando Bryce, Micha毛l Borremans鈥� (2006), in turn, deal with aspects of contemporary art in an essayistic manner by creating open fields of reference. The experimental aspect of the annual members鈥� exhibition, finally, consists in examining vastly different artistic positions by means of communicative processes 鈥� not negating differences but rather handling them in a productive and creative manner. Fundamentally, W眉rttembergischer Kunstverein also sees itself as an interface between art and teaching: this means that we involve the numerous local universities in our activities at many different levels.