“The Next Documenta Should be Curated by a Machine” is a project of the network artist Hans Bernhard, he has presented in the previous year in düsseldorf’s NRW Forum. The next Documenta should be curated by a machine, calls for Bernhard, from an algorithmic Artificial intelligence. Because people would have lost out on the exploding global art market, with tens of thousands of artists and millions of plants long ago. Cheaper than the Bankruptcy of the Documenta14 such an exhibition machine would be anyway.

On the Website “Google Arts& Culture”, where the data giant is presenting what he has with his “Cultural institutions” around the globe all together, scanned, get already today Algorithms, the selection of and visitors to the virtual showrooms, vulgo users will be able to browse “with the Tools, after formation time and colour”. This is not creative?

“readings” and “founding myths”

Creative anyway, as a lot of what print allegedly real human curators at curator talk in catalogs and on exhibition walls, what reads but the Sprachbot tumbling down. “Artist” XY, it says there, “is one of the most important artistic positions of the second half of the twentieth century”, the “Oeuvre since the…” (here the year number) and patterns of authority, “clear references to the current discourses”, such as “political nomadism”, Gender, feminism, identity, political conflict, market – oriented thinking, stresses in the “quasi-universal global sphere”. Also “readings” and “founding myths” of the Digital, or “access and forms of Participation” in which “colonial stories ringing”.

Important in the case of a Performance, so for the “power to Act of the body”, taken from “references” to the “practices” of the art, with the help of “roles questioned”, the “Narrative” of the company, as a contribution to the “problematization” of “institutional violence”. This can also be in “collaborative practice” happen, as “immersive”, “pure criticism beyond” criticism of “configurations” with the goal of a “reference point”, which, in turn, the “exploratory spirit of the project” illustrated and its “subtle Aesthetics”.