Parallel to the two solo exhibitions of Claire Barclay and Tobias Buche in the main building, outside-in I sets out on a new path for the Cuboid, formerly known as the Studiogalerie. To achieve this end, the curators invited concepts to be submitted for the specific nature of the Cuboid venue in a public, international competition. Following an idea developed by apexart,  New York, an external jury chose in a “blind” numerical process – without knowing the biographical information of the authors – the concept there have to be many, and they do(n’t) need to be reconciled with one another by Achim Lengerer.

there have to be many, and they do(n’t) need to be reconciled with one another brings together a variety of artistic positions that approach artistic identity through a performance-oriented, linguistic-based thinking and which appropriate aspects from both art and theatre. The participating artists themselves represent a myriad of hybrid identities: working simultaneously as artists, authors, musicians or curators in a variety of fields, their identity cannot be clearly classified. Achim Lengerer functions both as curator and artist in his interaction with the invited participants.

there have to be many, and they do(n’t) need to be reconciled with one another presents lectures, performances and other forms of interaction that take place on five Friday evenings in the Cuboid. A white square on the floor serves as a minimal stage and as a reference to Samuel Beckett’s piece Quad, in which the figures move around a square without touching its centre. The circling movement stands for an artistic practice that sees itself as discursive and performance-oriented and is presented to the public in the evening. The second stage of the project is the web site of the Kunstverein, where preparatory and post-performance material as well as documentation of the events in interviews and statements of the participants can be accessed.

there have to be many, and they do(n’t) need to be reconciled with one another removes the boundaries of the exhibition space to create an open communicative structure. In contrast to exhibitions of “finished” works of art, this approach results in an artistic practice that  is process-oriented.