Hans Ulrich Obrist Quotes

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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.

I always have coffee and porridge for breakfast.

From 1991 to 2000, I was totally nomadic. I was travelling 300 days a year and building out my research. These were a bit like my learning and migrating years, so to say.

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.

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.

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.

My most famous show is the 'Kitchen Show.' More famous than any gallery show or museum show I curated.

I remember going to a monastery library when I was very young and being surrounded by ancient books. I fell in love.

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.

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.

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.

When I was 17, I met many artists, and it started to become this conversation with artists out of which all of my exhibitions grew.

Exhibitions usually are not collected; they disperse after they take place.

For me, it's always been very essential to work on projects that one can work on almost for their entire life.

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.

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.

Most cities have a centre surrounded by suburbs, but London has numerous centres: it's the model of a twenty-first century metropolis.

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.

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.

Alex Poots has always made a bridge between highly experimental and the mainstream.

The 21st-century curator works in a supremely globalised reality.

To keep art stimulating, it's important to open it up to new horizons, which includes showing it in unexpected contexts.

In this new age of GPS, Google Earth and multidimensional digital maps, mapping is suddenly hugely relevant again.

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.

I don't wake up in the morning and think about Franz Kline.

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.

There is nothing deeper than to work for a year with the same artist.

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.

Many artists have not been able to realise their fondest projects. My role is to help them.

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.

One of my favourite exhibitions is called 'Do It,' which I co-curated with the artists Christian Boltanski and Bertrand Lavier 21 years ago.

Everything I do is somehow connected to velocity.

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.

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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