Why are vector sizes made

Responsive curating

Responsive Curating experiments with the »exhibition« as a universally understood medium under the current pandemic conditions such as the associated digital and political environments. There is no need for artists to travel or to transport art. Instead, the works will be redesigned at each exhibition location on the basis of digitized plans. They take up formal principles of instruction-based art from the 1960s, but follow the requirements of today's cultural production such as responsiveness or object-based vector sizes. To

After the exhibition, the works are either sold to local collections or integrated into the respective local waste disposal cycle. On view are works by international artists who explore the possibilities of the setting.

Imagine that the exhibition space is something like an end device, for example a mobile phone, and that the exhibition consists of a data package that is downloaded and unzipped in the room: Depending on the size and context of the exhibition space, the works of art change during their installation. Responsive Curating is experimenting with the exhibition as a “universal medium” that can communicate anywhere. A test arrangement with surprising results, especially with regard to the current challenges of a pandemic. In view of the limited cultural life, the artists do not rely on digitizing imaging strategies or on repackaging them in online formats. Responsive Curating in the Kunstraum Munich relies entirely on the power of visual art in physical space and the direct experience and in-depth examination of the individual works of the visitors. Works that deal with the new challenge of digital culture, global economy and the associated tension between identity and universalism. With a view to ecological issues, neither artist journeys nor art transports were necessary for the international exhibition. Instead, the curatorial concept of responsive curating revisits formal principles of instruction-based art from the 1960s, but follows today's requirements: This includes, for example, the sketching of instructions with vector sizes or the responsive design of the individual objects in the exhibition space. On the basis of the artistic instructions, the works will be realized again for each exhibition location and recycled in the local recycling system after the exhibition. The aura of the work of art is deliberately not created. The art space is the second station of Responsive Curating after the Venkatappa Art Gallery in the south Indian megacity Bengaluru 2019 (“Exhibition on Flash Drive”).

Works by Anjana Kothamachu (Bengaluru), Antonia Low (Berlin and Stuttgart), Ina Ettlinger (Munich), Hans HS Winkler (Berlin and New York), Harish V Mallappanavar (Haveri), rasso rottenfusser (Riva del Garda) can be seen u. Munich), Vichar BN (Bengaluru) and Vineesh Amin (Bengaluru). The works of art are based on the digital instructions of the artists and were specially produced in Munich for the exhibition. Among other things, they question the changes in time due to the corona pandemic, the function of the original and the copy on the global art market, the role expectations and desired projections on artists and the political design possibilities in diversified globalized and post-colonial contexts.

The exhibition is funded by the Bavarian State Ministry for Science and Art, the Kulturstiftung der Stadtsparkasse München and the cultural department of the City of Munich. The first stop in Bangalore was co-financed by the Goethe-Institut.