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All Quotes by author - Hans-Ulrich Obrist
" Alex Poots has always made a bridge between highly experimental and the mainstream. "
Made
Always
Alex
" At a certain moment, when I started doing my own shows, I felt it would be really interesting to know what is the history of my profession. I realized that there was no book, which was kind of a shock. "
Moment
Book
History
" At a certain time, an artist needs a big retrospective. At other times, they need a more focused exhibition. It's a different story each time; it's about establishing a dialogue. "
Artist
Time
Story
" At Performa in New York, there are a lot of commissions, but Manchester Festival is the only festival where everything is fully produced by the festival. "
New York
New
Everything
" During my time at high school and university in Kreuzlingen and St. Gallen, I traveled around Europe looking at art, visiting artists, studios, galleries and museums. "
School
Looking
Time
" Everything I do is somehow connected to velocity. "
Velocity
Somehow
Connected
" Exhibitions are kind of ephemeral moments, sometimes magic moments, and when they're gone, they're gone. "
Sometimes
Gone
Kind
" Exhibitions usually are not collected; they disperse after they take place. "
After
Place
Take
" Fly-in, fly-out curating nearly always produces superficial results; it's a practice that goes hand in hand with the fashion for applying the word 'curating' to everything that involves simply making a choice - radio playlists, hotel decor, even the food stalls in New York's High Line Park. "
Food
Practice
Fashion
" For me, it's always been very essential to work on projects that one can work on almost for their entire life. "
Almost
Always
Been
" For me, the idea of curating can be expanded. Curating science, curating art, music and theater and performance and not only bring those things into art but bring art into those areas. "
Science
Music
Performance
" For me, the making of exhibitions has always had to do with dialogue: a concentrated, in-depth, focused dialogue with artists, who keep teaching me that exhibitions should always invent new rules for the game. "
Focused
Always
Game
" From 1991 to 2000, I was totally nomadic. I was travelling 300 days a year and building out my research. These were a bit like my learning and migrating years, so to say. "
Building
Learning
Research
" I always have coffee and porridge for breakfast. "
Breakfast
Always
Coffee
" I don't wake up in the morning and think about Franz Kline. "
Think
Wake Up
About
" I founded a club, which is called the Brutally Early Club. It's basically a breakfast salon for the 21st century where art meets science meets architecture meets literature. "
Science
Breakfast
Art
" I have many intense friendships with artists. I don't mean we have intense one-day conversations but ongoing conversations that last in some cases for years. "
Intense
Last
Many
" I met Gerhard Richter and Alighiero Boetti when I was a teenager, and I was really inspired by them. When Boetti died, I realized I only vaguely remembered so many things he told me. It was such a pity. Had I only recorded his voice, he would still be with me, and I could listen to it from time to time. "
Remembered
Listen
Voice
" I'm trying to expand the notion of curating. Exhibitions need not only take place in galleries, need not only involve displaying objects. Art can appear where we expect it least. "
Place
Need
Expect
" I'm very interested in the idea of unusual museums, ones that are not necessarily contemporary art museums - more like historical collections or house museums. "
Unusual
Like
House
" In this new age of GPS, Google Earth and multidimensional digital maps, mapping is suddenly hugely relevant again. "
Digital
Earth
Google
" I read whenever possible, and I buy books all the time, sometimes online, but mostly from bookshops. I love literature. If you want to understand art, it's important to understand what is also happening in literature, in music, in science, in architecture. "
Love
Art
You
" I really do think artists are the most important people on the planet, and if what I do is a utility and helps them, then that makes me happy. I want to be helpful. "
Important
Think
People
" I remember going to a monastery library when I was very young and being surrounded by ancient books. I fell in love. "
Love
Young
Library
" I see a curator as a catalyst, generator and motivator - a sparring partner, accompanying the artist while they build a show, and a bridge builder, creating a bridge to the public. "
Bridge
Creating
Partner
" I spent 250 to 300 days of every year on the road. But in the end, I felt something was missing. I needed to be anchored so I could concentrate, so in 2000, I established a new methodology - the one I use today. I spent the week in my office and travelled every weekend, even at Christmas. "
End
Christmas
Weekend
" I started going to exhibitions in Switzerland when I was 10 or 11. As a schoolboy, I would go every afternoon to see the long, thin figures of Giacometti. "
Go
Started
Switzerland
" I still remember my first Giacometti exhibition, and going back to the museum every day, whenever I could, to look again and again at these long, thin stick figures, so beautiful, so graceful. That, I think, was the moment I became really obsessed by art. "
Long
Beautiful
Art
" I think the art fair is very much a form of urbanism. I think something really happens to the cities when such a fair happens. The city becomes an exhibition; it's amazing. "
Happens
Amazing
Art
" It's quite an obscure notion for a kid, no? To want to be a curator. But even then, I knew that I would do this. "
Want
Then
Even
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