Hans-Ulrich Obrist Quotes
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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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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.
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I always have coffee and porridge for breakfast.
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To keep art stimulating, it's important to open it up to new horizons, which includes showing it in unexpected contexts.
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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.
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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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Most cities have a centre surrounded by suburbs, but London has numerous centres: it's the model of a twenty-first century metropolis.
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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.
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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.
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For me, it's always been very essential to work on projects that one can work on almost for their entire life.
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To be honest, I think, for me, the power is always with art. The art world clearly couldn't happen without art.
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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.
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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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The 21st-century curator works in a supremely globalised reality.
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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.
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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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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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The non-utility of my kitchen could be transformed into its utility for art. To do a show there would mix art and life, naturally.
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There is nothing deeper than to work for a year with the same artist.
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My job is art curator, not artist. All I have ever wanted to do is immerse myself in art, to enjoy it, to learn about it, to write about it, to talk to others about it.
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When I was a kid and started to be obsessed by art in the 1980s, the art world was in this polarity Warhol/Beuys, Beuys/Warhol. Both expended the notion of art extremely, but in very different ways.
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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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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.
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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.