Swiss - Critic | -
Exhibitions are kind of ephemeral moments, sometimes magic moments, and when they're gone, they're gone.
Hans-Ulrich Obrist
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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.
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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.
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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.
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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.
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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.
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I remember going to a monastery library when I was very young and being surrounded by ancient books. I fell in love.
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Making art is not the matter of a moment, and nor is making an exhibition; curating follows art.
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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.
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Everything I do is somehow connected to velocity.
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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.
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The 21st-century curator works in a supremely globalised reality.
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