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. Hans-Ulrich Obrist More Quotes by Hans-Ulrich Obrist More Quotes From Hans-Ulrich Obrist 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 partner see artist Making art is not the matter of a moment, and nor is making an exhibition; curating follows art. Hans-Ulrich Obrist exhibition moment matter art To keep art stimulating, it's important to open it up to new horizons, which includes showing it in unexpected contexts. Hans-Ulrich Obrist new unexpected important art Exhibitions are kind of ephemeral moments, sometimes magic moments, and when they're gone, they're gone. Hans-Ulrich Obrist magic moments gone sometimes In this new age of GPS, Google Earth and multidimensional digital maps, mapping is suddenly hugely relevant again. Hans-Ulrich Obrist new digital earth age 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 go next knowledge 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. Hans-Ulrich Obrist day moment beautiful art Exhibitions usually are not collected; they disperse after they take place. Hans-Ulrich Obrist after place take exhibitions 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 story focused artist time 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 surrounded model suburbs london I don't wake up in the morning and think about Franz Kline. Hans-Ulrich Obrist about think wake-up morning There is nothing deeper than to work for a year with the same artist. Hans-Ulrich Obrist nothing year artist work 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 see switzerland long Many artists have not been able to realise their fondest projects. My role is to help them. Hans-Ulrich Obrist them role help been 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 which exhibitions christian years Everything I do is somehow connected to velocity. Hans-Ulrich Obrist somehow everything velocity connected 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 good growing-up grateful way 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 my-life thought work life 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. Hans-Ulrich Obrist road end christmas today I always have coffee and porridge for breakfast. Hans-Ulrich Obrist always coffee breakfast
