Making art is not the matter of a moment, and nor is making an exhibition; curating follows art. 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 bridgepartnerseeartist 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 needplacetryingart To keep art stimulating, it's important to open it up to new horizons, which includes showing it in unexpected contexts. Hans-Ulrich Obrist newunexpectedimportantart Exhibitions are kind of ephemeral moments, sometimes magic moments, and when they're gone, they're gone. Hans-Ulrich Obrist magicmomentsgonesometimes In this new age of GPS, Google Earth and multidimensional digital maps, mapping is suddenly hugely relevant again. Hans-Ulrich Obrist newdigitalearthage 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 citygonextknowledge 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 daymomentbeautifulart Exhibitions usually are not collected; they disperse after they take place. Hans-Ulrich Obrist afterplacetakeexhibitions 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 storyfocusedartisttime 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 surroundedmodelsuburbslondon I don't wake up in the morning and think about Franz Kline. Hans-Ulrich Obrist aboutthinkwake-upmorning There is nothing deeper than to work for a year with the same artist. Hans-Ulrich Obrist nothingyearartistwork 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 goseeswitzerlandlong Many artists have not been able to realise their fondest projects. My role is to help them. Hans-Ulrich Obrist themrolehelpbeen 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 whichexhibitionschristianyears Everything I do is somehow connected to velocity. Hans-Ulrich Obrist somehoweverythingvelocityconnected 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 goodgrowing-upgratefulway 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-lifethoughtworklife 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 roadendchristmastoday I always have coffee and porridge for breakfast. Hans-Ulrich Obrist alwayscoffeebreakfast
