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" 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. "
Hans-Ulrich Obrist
Artist
Time
Story
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" To record is a process against forgetting. I do interviews because it's what I've been doing every day for a few hours since I was a kid. I've always talked to artists. "
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" In this new age of GPS, Google Earth and multidimensional digital maps, mapping is suddenly hugely relevant again. "
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" 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. "
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" 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. "
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" 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. "
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" Exhibitions are kind of ephemeral moments, sometimes magic moments, and when they're gone, they're gone. "
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" 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. "
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Christmas
Weekend
" Since 2000, I've been based in Paris at the Musee d'Art Moderne de la Ville, curating the programme there. Internationally, it's a very open situation that goes beyond national boundaries; directors and curators move from one country to another, which has opened up the museum landscape. "
Hans-Ulrich Obrist
Situation
Up
Landscape
" I remember going to a monastery library when I was very young and being surrounded by ancient books. I fell in love. "
Hans-Ulrich Obrist
Love
Young
Library
" I don't wake up in the morning and think about Franz Kline. "
Hans-Ulrich Obrist
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" 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. "
Hans-Ulrich Obrist
Focused
Always
Game
" Many artists have not been able to realise their fondest projects. My role is to help them. "
Hans-Ulrich Obrist
Help
Role
Projects
" 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. "
Hans-Ulrich Obrist
Want
Then
Even
" 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. "
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Practice
Fashion
" Most cities have a centre surrounded by suburbs, but London has numerous centres: it's the model of a twenty-first century metropolis. "
Hans-Ulrich Obrist
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" Switzerland felt incredibly narrow, growing up. It was good, in a way. There were so many museums. But it was always a no-brainer that I would have to leave, and I'm grateful for that. "
Hans-Ulrich Obrist
Growing
Grateful
Growing Up
" I went to the studio of Fischli Weiss, and it was magical. I thought: 'This is what I want to do with my life; I want to work with artists and be useful to them.' I was magnetically attracted. "
Hans-Ulrich Obrist
Thought
Want
Life
" 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. "
Hans-Ulrich Obrist
Intense
Last
Many
" One of my favourite exhibitions is called 'Do It,' which I co-curated with the artists Christian Boltanski and Bertrand Lavier 21 years ago. "
Hans-Ulrich Obrist
Artists
Christian
Favourite
" Numerous are the posthumous museums and memorials devoted exclusively to one artist, architect or author and designed to preserve or artificially reconstruct the namesake's original working or living conditions. "
Hans-Ulrich Obrist
Museums
Artist
Living
" I would go from one city to the next, inspired by the monks in the Middle Ages, who would carry knowledge from one monastery to the next monastery. "
Hans-Ulrich Obrist
City
Carry
Knowledge
" 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. "
Hans-Ulrich Obrist
Bridge
Creating
Partner
" 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. "
Hans-Ulrich Obrist
Important
Think
People
" 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. "
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Happens
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" My great inspiration has always been Studs Terkel, who is a wonderful American oral historian. He was a radio DJ at first, interviewed a lot of jazz musicians, and at some point started to interview Americans about work. "
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Great
Work
Musicians
" 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. "
Hans-Ulrich Obrist
Go
Started
Switzerland
" 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. "
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" My most famous show is the 'Kitchen Show.' More famous than any gallery show or museum show I curated. "
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" Alex Poots has always made a bridge between highly experimental and the mainstream. "
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" The 21st-century curator works in a supremely globalised reality. "
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