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Hans-Ulrich Obrist Quotes
Hans-Ulrich Obrist Quotes
Hans-Ulrich Obrist
Swiss
Critic
Always
Art
Artist
Artists
Exhibitions
Me
Related authors:
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John Churton Collins
Margaret Fuller
Pauline Kael
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bell hooks
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
Partner
Build
See
Catalyst
Generator
Builder
Accompanying
Motivator
Curator
Artist
While
Public
Sparring
Creating
Show
Bridge
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
Art
Objects
Only
Take
Involve
Least
Exhibitions
Expand
Expect
Trying
Where
Place
Galleries
Notion
Appear
Displaying
Need
Exhibitions are kind of ephemeral moments, sometimes magic moments, and when they're gone, they're gone.
Hans-Ulrich Obrist
Sometimes
Gone
Kind
Magic
Exhibitions
Ephemeral
Moments
In this new age of GPS, Google Earth and multidimensional digital maps, mapping is suddenly hugely relevant again.
Hans-Ulrich Obrist
Age
Digital
Google
Earth
Relevant
New
New Age
Hugely
Again
Mapping
Suddenly
Maps
I don't wake up in the morning and think about Franz Kline.
Hans-Ulrich Obrist
Morning
Wake Up
Think
About
Wake
Up
There is nothing deeper than to work for a year with the same artist.
Hans-Ulrich Obrist
Work
Year
Nothing
Than
Same
Artist
Deeper
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
Long
Every
Would
See
Schoolboy
Go
Exhibitions
Going
Afternoon
Figures
Switzerland
Thin
Started
Everything I do is somehow connected to velocity.
Hans-Ulrich Obrist
Everything
Somehow
Velocity
Connected
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
Life
Work
Thought
My Life
Magical
Studio
Attracted
Artists
Want
Them
Useful
I founded a club, which is called the Brutally Early Club. It's basically a breakfast salon for the 21st century where art meets science meets architecture meets literature.
Hans-Ulrich Obrist
Art
Science
Architecture
Breakfast
Club
Meets
Brutally
Salon
Where
Literature
Which
Century
Founded
Early
Basically
My most famous show is the 'Kitchen Show.' More famous than any gallery show or museum show I curated.
Hans-Ulrich Obrist
More
Kitchen
Most
Than
Any
Famous
Gallery
Show
Museum
For me, it's always been very essential to work on projects that one can work on almost for their entire life.
Hans-Ulrich Obrist
Life
Work
Me
Projects
Entire
Entire Life
Almost
Always
Been
Very
Essential
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
Country
National
Situation
One Country
Paris
Directors
Open
Boundaries
Opened
Since
Beyond
Another
Been
La
Up
Very
Goes
Move
Which
Landscape
Based
Internationally
Programme
Museum
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.
Hans-Ulrich Obrist
Everything
Only
New
Lot
Festival
York
Manchester
New York
Where
Produced
Fully
During my time at high school and university in Kreuzlingen and St. Gallen, I traveled around Europe looking at art, visiting artists, studios, galleries and museums.
Hans-Ulrich Obrist
Art
Time
School
Looking
Visiting
High
High School
My Time
Studios
Around
Artists
Galleries
Europe
Traveled
University
Museums
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.
Hans-Ulrich Obrist
Quality
Year
Our
Immaterial
Once
Directed
More
More And More
Through
Rituals
Towards
Economy
Sort
Quantity
Enable
Glut
Passing
Cultural
Again
Forms
Turn
Produce
Us
Require
Each
Functions
Growth
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.
Hans-Ulrich Obrist
Day
Every Day
Few
Every
Interviews
Kid
Record
Since
Hours
Talked
Because
Always
Doing
Been
Forgetting
Artists
Process
Against
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.
Hans-Ulrich Obrist
Art
World
Extremely
Kid
Ways
Both
Obsessed
Very
Art World
Different
Notion
Different Ways
Started
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.
Hans-Ulrich Obrist
History
Book
Own
Kind
Would
Would-Be
My Own
Know
Felt
Doing
Shock
The History Of
Which
Interesting
Realized
Really
Certain
Moment
Profession
Shows
Started
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
Kid
Would
Obscure
Knew
Curator
Quite
Want
Then
Notion
Even
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
Me
Happy
People
Important
Think
Most
Important People
Makes
Artists
The Most Important
Want
Them
Then
Planet
Really
Helpful
Helps
Utility
To be honest, I think, for me, the power is always with art. The art world clearly couldn't happen without art.
Hans-Ulrich Obrist
Art
Me
World
Power
To Be Honest
Think
Clearly
Without
Always
Art World
Happen
Honest
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