Abstract
Based on the artistic-curatorial project VAN Art Space and its theoretical- discursive contextualization, this thesis explores the question of how an independent and largely self-determined art and exhibition practice can be established despite various forms of prevailing resource scarcity and a so- cially neoliberalist ethos. The central topics of this thesis are financial, tem- poral, institutional, presentation-, and attention-related resources, as well as problems associated with the compatibility of everyday family life and artistic professional activity. By means of theoretical-analytical reflection on the problematic of resources and the history and significance of the White Cube , and through the conception and realization of the VAN project, this thesis shows how a nuanced artistic-curatorial attitude and practice towards neoliberalism can be developed. In addition to the approaches of Bojana Kunst, Marion von Osten, Brian O’Doherty, Simon Sheikh, Gregory Sholette, Juliane Reben- tisch, and Isabelle Graw, the autobiographical experiences of the author of this thesis are incorporated into the analysis and artistic-curatorial project development.
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