Swiss - Critic | -
In this new age of GPS, Google Earth and multidimensional digital maps, mapping is suddenly hugely relevant again.
Hans-Ulrich Obrist
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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