The Shedhalle occupies a niche between different types of institutions. It is neither a gallery nor a museum nor an off-space. Its ‘in between’ status is an opportunity that allows for a versatile approach to exhibition making and that also demands a specific commitment from us. In this line, the production of an exhibition for us is a dispositive: cultural practice should be oriented towards contexts and should be designed for and communicated through specific social-political questions. The Shedhalle understands itself as a place of production, communication, investigation, discussion and distribution, which makes use of various media channels. Curatorial practice as we see it has to bid farewell to the idea of ‘exhibition spaces’ as places where contemporary art is merely presented and instead discover and invent new paths and viagra usa locations for art. The conceptual and performative redefinition of the idea of ‘exhibiting’ has long been a focal point of the Shedhalle. It is this search for experimental forms of ‘presentation’ which we wish to continue.Artistic practices challenge art institutions by using the institutional structure as site and display for the exploration of artistic practices while presenting the medium of the exhibition itself in a performative way. Therefore, the examination of aesthetic practice has to understand this very examination as its point of departure. The institution has to question how far it can provide a model for the production of knowledge itself. The Shedhalle in consequence turns to the artists to be inspired and in order to learn from their patterns of production, presentation and mediation. The Shedhalle brings artistic, cultural and scientific practices of social-political relevance into dialogue. It sees itself as a platform for experiment and investigation where such practices may be tested, shown and viagra usa discussed. The Shedhalle offers a forum for cultural producers as well as for visitors. This demands transparency in respect to processes and forms of work, which may not be apparent at first glance. An art institution like the Shedhalle is oriented, on the one hand, towards presentation, for example with exhibitions or film screenings, on the other hand, however, it focuses on production and investigation, like a research institute, studio or workshop.Artistic as well as curatorial practice must not remain fixed at the level of illustration but should rather assume the status of a model for which, in contrast to classical critiques of institutions, not only the weak points within the art system itself are of concern. According to our understanding, art can present alternative models and subversive infiltrations of existing systems. In this connection, it seems important to us that the process and form in which artists work is more closely observed. As a result, special attention has been given to the investigation of artistic practice by allocating an important position in the Shedhalle programme with the long-term project On the Spot. We are interested in an artistic practice which, by means of communicative and participatory strategies, infiltrates social, urban, economic and medial spaces. The starting point for these projects is the extension of the investigation to an interdisciplinary spectrum ranging from cultural studies, feminist theory and urbanism to aesthetic and political practices.This requires long-term institutional co-operation that has to be communicated so that it can enter social circulation. For this reason, we wish to propose a dynamic procedure that will enable us to build long-term relationships with the artists and to follow substantial thematic lines on a number of individual projects. Frequently, art institutions cannot afford to work on content and themes over extended periods of time because they lack the necessary resources. However, we prefer a slower approach by means of exhibition forms that allow for long-term projects with emphasis on content by dividing them into chapters, stages, or works ‘in progress’: “The mental comma instead of the full-stop“. Thus we have opted to concentrate on a single main theme for one entire year. This approach will enable us to take up and work on all the questions that may have arisen in the course of an exhibition chapter in the succeeding chapter.
….(1) An image of a curatorial approach, formulated by Johanna Lassenius