Hans Ulrich Obrist. The Art of Curating. 2004. 1/8

http://www.egs.edu/ Hans Ulrich Obrist, Swiss curator, art critic, artist, scientist, writer, curator, composer, architect, thinker talking and lecturing about his interviews and discussion with Philippe Parreno and architects, urbanists, scientists, linguists, philosophers and non-mainstream filmmakers, conversations between the temporal dimensions of visual production, the essay Postman Time 1992, the amount of time it takes to look at an art work and how this experience is framed: the postman delivers a package, and then it's up to the recipient, to make something of this, the notion of how an exhibition could be structured not as a progression of physical objects, but around the notion of time, itself. Asking questions about the concept of exhibitions and audience: Could we realise a group show in which artists would not be given space, but some kind of temporality? Would it be possible for an exhibition to be delivered to audiences, rather than require them to walk through a gallery? Il Tempo del Postino, a show at the Manchester International Festival is the product of these discussions, a first effort at filling a missing trajectory within the history of exhibition-making. Hans Ulrich Obrist in a public open video lecture for the faculty and students of the European Graduate School, Media and Communication Studies Department Program, EGS, Saas-Fee, Switzerland, Europe, 2004.

Hans Ulrich Obrist, born in Zürich, Switzerland, 1968 founded the Museum Robert Walser in 1993 and began to run the Migrateurs program at the Musée d'Art Moderne de la Ville de Paris where he served as a curator for contemporary art. He presently serves as the Co-Director, Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, Kensington Gardens, in London.

The Swiss curator Hans-Ulrich Obrist began studying economics and politics before he focused on contemporary art and the organization of extraordinary international exhibitions for which he has since gained wide acclaim. The exhibitions, events, and performances often take place in spaces not previously used as exhibition venues. He curated exhibitions at the Musée d'Art Moderne de la Ville de Paris, at the Kunsthalle Wien, the Deichtorhallen in Hamburg, the Serpentine Gallery in London, Art Basel, Biennale, La Biennale di Venezia, and the PS1.

Among his most important publications are: World soup Munich 1993, Delta X Regensburg 1996, Unbuilt roads: 107 unrealized projects Ostfildern 1997 Vito Acconci im Gespräch mit Hans-Ulrich Obrist, 1993; Text: Schriften und Interviews / Gerhard Richter, ed., Frankfurt am Main 1993; Félix González-Torres im Gespräch mit Hans-Ulrich Obrist, 1994; Bertrand Lavier: Argo, ed. 1994; Dara Birnbaum im Gespräch mit Hans-Ulrich Obrist, 1995; Christian Boltanski im Gespräch mit Hans-Ulrich Obrist, 1995; Annette Messager. Nos témoignages, 1995; Lost day : 1972 / Gilbert & George ed. , Cologne 1996; Laboratorium with Barbara Vanderlinden ed.s, Antwerpen 1999.

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[xicocamotl]

Very impressive, 9 minutes and 57 seconds of NOTHING. This guy is the swiss version of Mexican comedian Cantinflas, only that with a severe lack of charm and a special emphasis on name dropping. A great lesson on how you can make a big name and career just by listing the projects you´re involved in.

[drborja]

hilarious!

[HBLovers]

Von Zeitkapseln und verschwinden könnenden Katalysatoren mit Protestambitionen gegen das Vergessen und für das Verstehen von den wirkenden Kräften korrelierender Mixe aus Kunst, Kultur und Wissenschaft aber ohne Masterplan, gerne und am liebsten an immer gleichen Orten.

[ThewildRageofGordon]

Elaborating the interstices and furthering the infinite combination that there in grows: dissemination of ideas etc.... as a shift it reminds me of the thinking hats of de Bono: polyvocality. My suggestion is not to obliterate the ordinary Stalinist seminar completely, but keep contact. Shorten the old without letting it become a "Kierkegaardian" old: an - unthinkable and discrete - artifact. Do a living dialectic and let the new format "master" the old organically.

[marianstefan1]

The purpose of art seem to be in this case globalization or ids it because the art can establish bridges between people on a level that can be considered global