Strategies of curating and collecting in the age of new museum ethics

Calls for cultural diversity, postcolonial museology, and the decolonization of art institutions are the hallmarks of a changed social development that is massively challenging the museum\u27s monopoly on sovereignty, and increasingly impacting collecting works of art and curating of exhibitions. These developments of upheaval are intensified by a consumer-oriented event culture, which has discovered the museum as a playground, as well as by the increasing dependence of museums on the latest technological developments. The current situation of the pandemic exacerbates the problems, so that the following questions arise: What consequences do these changed parameters have for curating exhibitions and for collecting works of art? To what extent are curators forced to submit to the rampant and often counterproductive political correctness in their work? Or, to put it another way: What opportunities do the new upheavals offer for an exhibition and collection policy that is marked by a New Museum Ethics? Which guiding models and strategies can be developed for exhibitions in the 21st century? Using the example of the various curatorial strategies that have been developed for the exhibitions (1.) The Age of Experience (Hong Kong 2015, Vienna 2016), (2.) Tobias Klein. Metamorphosis or Confrontation (Hong Kong 2020) and (3.) Future Memories. Utopia Dystopia Nature (Hong Kong 2021), I would like to explain how the different elements of an exhibition were brought together with the curator\u27s objectives to create a rich spectrum of experiences for participatory visitors and to meet the new demands of the 21st century