Swiss - Critic | -
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
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I don't wake up in the morning and think about Franz Kline.
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There is nothing deeper than to work for a year with the same artist.
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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.
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Many artists have not been able to realise their fondest projects. My role is to help them.
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One of my favourite exhibitions is called 'Do It,' which I co-curated with the artists Christian Boltanski and Bertrand Lavier 21 years ago.
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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.
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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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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.
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I always have coffee and porridge for breakfast.
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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.
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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.
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