Our collection of pertinent literature (see today library link) goes to prove that this today can be easily extended from the antiquity to the contemporary. We are entirely aware that this concept of today represents a naturally paradoxical endeavour. And yet, it is the creation of a work of art in the present that has always offered a solution for tomorrow. Time itself is questioned, and so it is important to us to have spacial-aesthetic works and it remains indispensable for us to act site-specifically.

Theodor Adorno writes in "Aesthetic Theory" that art is never linear, it never orientates itself on the rational, as a form of "irrationality in the principle of rationality" it stands askew. Art today is not just a paradoxical distinctive sign, but also a plea: To put together a program is to take a stance. In this sense, we will take one for the grotesque, the upsetting, the quiet, the beautiful, the absurd, the analysing, and sometimes the uplifting … and for all the artists that we work with.

So much for the motto. So much for the stance. Maybe someday a manifesto will come from it. In his time, Claes Oldenburg wrote one that we concur with and thus will wholeheartedly insert ourselves into it with a “we”. Because we are also interested in art “that does not just sit on its ass in a museum”: We are “for a form of art that develops without knowing that it is art, a form that can begin at nothing.” We are “for a form of art that deals with the daily shit yet still winds up on top.”

In that sense …