Anyone who takes seriously the current situation in image production worldwide regards photography more obviously than was previously the case as oriented towards social communications contexts without, however, watering these down into pseudo-service-industry bargains. Photography need not be detached from its pictorial or object relationships. The realisation that inventions in photography can be made solely on the technological side at the same time elicits an enhanced interest in content.
Curators themselves need not engage in intellectual acrobatics. Nor need they astonish us with an exchange of so-called innovations or theories on the exploration of the aesthetic construct because all degrees of astonishment provided by an exhibition/a project take place on the readily accessible plane of the dialogue between different conceptions of the image as such, which, after all, revolve around the fragmented mirror-images of our existence that is breaking out of its co-ordinates. Curators need not, therefore, place themselves before art. It suffices when they stand in its shadow.

Christoph Tannert
(April 2007)