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How would you describe the changes due to a feminist being in this position? I am not an art historian, but originally a critic. For many years of my career I worked outside of institutions. This may indicate something of my background.
The changes when I took over as director were major ones, perhaps also because museum work on the whole and the art business have changed massively and continue to change. Women only—was that your motivation? The new LENTOS building opened in , accompanied by an advertising campaign that referred exclusively to male artists in the collection. The deplorable results of this survey were published as a video. This was also the first exhibition by the two curators, Elisabeth Nowak-Thaller and Angelika Gillmayr, where they were credited by name.
That was not usually the case before I became director. SR: No. It was a statement at a certain historical moment. As you probably know, the Centre Pompidou realized the same concept with elles centrepompidou in , seven years later, but with a far greater public resonance…. JS: That was also an exhibition showing exclusively female artists from the collection. Could that be a concept of feminist curating: women-only exhibitions? SR: I was asked about the concept of feminist curating primarily because of three exhibitions: because of my first exhibition in a museum, hers.
The latter contrasted the manipulation of mothers through discrimination, political, social, and economic interests with a free, self-determined understanding of motherhood, to put it briefly. In my curatorial work those are certainly important projects, but I would prefer to discuss a broader approach to feminist curating. SR: I am interested in gender politics as an essential part of social politics, and I am interested in artistic positions that engage with issues of gender and society. The focus often stems from the artists being personally affected—although a queer sexual identity is not a precondition for making queer art.
