Quotes by: Hans Ulrich Obrist
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.
Our economy's growth functions by inciting us to produce more and more with each passing year. In turn, we require cultural forms to enable us to sort through the glut, and our rituals are once again directed towards the immaterial, towards quality and not quantity.
To be honest, I think, for me, the power is always with art. The art world clearly couldn't happen without art.
Mr. Koons's work has always inspired architects, which I think is very interesting. I think he is an artist who has reinvented himself so many times and reinvented so many different series.
To keep art stimulating, it's important to open it up to new horizons, which includes showing it in unexpected contexts.
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.
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.
Many artists have not been able to realise their fondest projects. My role is to help them.
One of my favourite exhibitions is called 'Do It,' which I co-curated with the artists Christian Boltanski and Bertrand Lavier 21 years ago.
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.
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.
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.
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.
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.
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.
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.
In this new age of GPS, Google Earth and multidimensional digital maps, mapping is suddenly hugely relevant again.
My most famous show is the 'Kitchen Show.' More famous than any gallery show or museum show I curated.
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.
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.
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.
I remember going to a monastery library when I was very young and being surrounded by ancient books. I fell in love.