Hans-Ulrich Obrist Quotes

Powerful Hans-Ulrich Obrist for Daily Growth

About Hans-Ulrich Obrist

Hans-Ulrich Obrist, born on March 12, 1968, in Zurich, Switzerland, is a renowned contemporary art impresario, curator, and cultural philosopher. Obrist's career has been marked by his innovative approach to exhibition-making and his commitment to fostering dialogue between artists and thinkers from diverse disciplines. Raised in an intellectual family where culture was highly valued, Obrist developed a passion for art at a young age. This interest led him to study Art History and German Literature at the University of Zurich. His academic journey culminated in a Ph.D. thesis on Marcel Duchamp's library. In 1996, Obrist joined London's Serpentine Gallery as Curator of the Live Programme, where he organized groundbreaking exhibitions and events that blurred the boundaries between art, architecture, and philosophy. In 2006, he became the Co-director of the gallery alongside Julia Peyton-Jones. Obrist is known for his innovative concept of the 'interview as exhibition,' which has led to hundreds of conversations with artists such as Sol LeWitt, Bruce Nauman, and Olafur Eliasson, among others. These interviews have been compiled into various books, including 'Interviews and Encounters' (2003) and 'Do It' (1997), an influential artist's book inviting artists to contribute works under specific themes. In 2017, Obrist was appointed the Artistic Director of the Victoria and Albert Museum's annual architecture exhibition, 'Architecture_Landscape_Politics.' His most recent project, 'Iliad, Odyssey,' presented at Le Grande Halle de la Villette in Paris, brought together over 100 contemporary artists to reinterpret Homer's epic poems. Hans-Ulrich Obrist continues to challenge the traditional role of a curator, pushing boundaries and fostering dialogue between art, culture, and society.

Interpretations of Popular Quotes

"I always say that we live in an age of unfinishedness."

The quote implies that we are living in a time characterized by constant evolution, ongoing projects, and incompleteness. This could be interpreted as a reflection of our rapidly changing society, where innovation, development, and progress never truly reach an end point. It encourages us to embrace the fluidity and dynamism of our world, suggesting that our focus should be on the journey rather than the destination.


"Art is a way of thinking about the world, of dreaming and of questioning, but above all it's a way of engaging."

Hans-Ulrich Obrist's quote emphasizes that art serves as a tool for understanding, imagining, pondering, and interacting with the world around us. It suggests that art is more than just an aesthetic experience; it encourages thought, fosters dreams, and stimulates questions about our existence. Most importantly, it advocates engagement—not only with the artwork itself but also with ideas, people, and the larger societal context. Art, in this sense, is a powerful medium that connects individuals, cultures, and perspectives, inviting us to actively participate in shaping our collective narrative.


"We are living in an era of many simultaneities."

The quote suggests that the contemporary world is characterized by multiple, concurrent events, trends, ideas, or realities happening at the same time. This could refer to various cultural, technological, political, and social phenomena that intersect and influence each other in complex ways. As a result, understanding our world requires us to navigate this intricate tapestry of simultaneities, recognizing how they shape and are shaped by one another.


"The future will only come if we invent it."

This quote by Hans-Ulrich Obrist suggests that the future is not a predetermined or inevitable destination, but rather an outcome of our collective actions, ideas, and inventions. It encourages us to actively shape the course of events instead of passively waiting for the future to unfold. Essentially, it emphasizes the power we have to create and mold the future according to our own aspirations and innovations.


"I see curating as a collaborative act of discovery."

Hans-Ulrich Obrist, in this quote, views curation as a joint endeavor aimed at uncovering new discoveries. This means that curation is not just about arranging existing works, but it's also about exploring, researching, and collaborating with artists to bring forth fresh ideas and perspectives. In essence, he suggests that the act of curating art should be a cooperative process of learning and revelation, where both the curator and the artist grow together in their understanding and presentation of artistic expression.


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, Middle, Next, Monks

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

London, Surrounded, Suburbs, Metropolis

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.

- Hans-Ulrich Obrist

Art, Learn, Artist, Immerse

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

- Hans-Ulrich Obrist

Curator, 21st-Century, Works, Supremely

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

Always, Been, Very, Essential

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

Big, Needs, Exhibition, Retrospective

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

I Think, Became, Figures, Graceful

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

New, Festival, Produced, Manchester

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, Been, Very, Internationally

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, Need, Objects, Displaying

My great inspiration has always been Studs Terkel, who is a wonderful American oral historian. He was a radio DJ at first, interviewed a lot of jazz musicians, and at some point started to interview Americans about work.

- Hans-Ulrich Obrist

DJ, Some, Been, Interview

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

- Hans-Ulrich Obrist

Always, Made, Mainstream, Alex

Numerous are the posthumous museums and memorials devoted exclusively to one artist, architect or author and designed to preserve or artificially reconstruct the namesake's original working or living conditions.

- Hans-Ulrich Obrist

Living, Original, Devoted, Reconstruct

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

Week, Year, Needed, Travelled

For me, the making of exhibitions has always had to do with dialogue: a concentrated, in-depth, focused dialogue with artists, who keep teaching me that exhibitions should always invent new rules for the game.

- Hans-Ulrich Obrist

New, Always, Making, Concentrated

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.

- Hans-Ulrich Obrist

Art, Show, Could, Transformed

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.

- Hans-Ulrich Obrist

Art, Like, Very, Contemporary Art

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

Year, Through, Functions, Passing

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.

- Hans-Ulrich Obrist

Voice, Pity, Had, From Time To Time

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, Which, Meets, 21st Century

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

Grateful, Always, Felt, No-Brainer

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

Artist, Show, Motivator, Generator

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

- Hans-Ulrich Obrist

Famous, Museum, Most, Kitchen

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, Obsessed, Very, 1980s

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.

- Hans-Ulrich Obrist

Started, Which, Many, Conversation

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, Studios, Visiting, Traveled

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

Think, The Most Important, Important People

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

- Hans-Ulrich Obrist

Love, I Remember, Very, Monastery

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

Switzerland, Going, Figures, Thin

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.

- Hans-Ulrich Obrist

Practice, Line, Nearly, Produces

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