„What I propose, therefore,
is very simple: it is nothing more than to think what we are doing.“
Hannah Arendt, Vita Activa
In a time of spiritual and cultural disorientation the dominant feeling is that of powerlessness. The place of an old order has been taken over by unconstrained capitalism in the realm of economics, in inner life by apathy and on a mental level by lack of vision and pragmatism. In this utterly changed political and spiritual situation, the expectations of the role of art have become more modest.
The consumer character of the contemporary art market, which often reduces art to entertainment and decoration that aspires to be a profitable investment of capital, could be a threat to its most important task: exploration of the human condition and the world we live in. In the realm of current forms of art presentation we are confronted with many obstacles that prevent engagement. It is therefore important that artists reflect the very process of artistic creation as well as processes that are taking place outside studios and galleries. The „true“ art still exists, in the face of consumer art. It questions itself and its place in the cultural context, and it requires from us an ongoing revision of the artistic thesis as well as the artistic practice.
Talking about art cannot replace the works. But should its presence be reduced to the presentation of material objects, which are accompanied by marginal talks?
Instead of this kind of traditional presentation of art, coming together and the process of communication in a specific place are proclaimed to be a collective work of art.
A conversation could become a creative process of communication and presentation of art, at the centre of which are not only final products, but spiritual conditions and the intellectual processes that have led to its creation. It is an intention to find new solutions, through an inspiration that comes from creative articulation, mutual listening and collective reflection about the artistic work.
At least part of these conversations can be documented through images and sound. The traces can be a closure to the occurred exchange. When the action is over the space will be still available to the public. The traces that have been created during the dialogue will also remain in the space as a kind of record of this event in order to preserve the former presence of its participants.
Roland Schefferski, Berlin 2006 / 14