Hans-Ulrich Obrist Quotes

Biennial culture is already almost irrelevant, because so many more people are providing so many better opportunities for artists to exhibit their work.

The Whitney is a museum that has a great rapport with younger artists and the community.

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.

Can that make any sense - a Belgian artist living in Mexico and working in Afghanistan?

What I am sad about is that there is now, in America, no equivalent to the art circuit.

I've never been invited to do an exhibition or do a talk in England, except once, about 10 years ago. I've given talks all across Canada, many in the United States, South Africa, Singapore, Hong Kong, Japan - but not England.

The world of contemporary art has, in a way, exponentially expanded in the last couple of decades, and almost every major city in Europe and Asia and North America has fallen over themselves to have their own contemporary art museum.

I follow the work of my contemporaries. I love their work.

The National's favorite experiences as musicians are when we are collaborating with people a little outside of our world as a band.

The music business inspires designers, and designers inspire the music business.

Movies affecting music has caused me to collaborate a little bit better.

In China, we don't have any contemporary art museums. Until a few years ago, we didn't even have a gallery.

The reason these paintings are destined for New York is not because I am disappointed about a lack of German interest, but because MoMA asked me, and because I consider it to be the best museum in the world.

It wasn't that I amassed it with aims of selling it and becoming a rich man. My personality demanded that I be surrounded by the best examples of the world's art.

The Program further aims to make the benefits of American culture and technology available to the world and to enrich American life by exposing it to the science and art of many societies.

The Europeans who went to Africa came back with “modern' art. What is more African than a Picasso?

Most of the time the concept of globalization ends up sounding unnecessarily abstruse - even the name itself sounds clunky and highfalutin. And people discuss it in a way that makes it seem so impersonal. But globalization really is a concrete, fundamental fact in everybody's lives, and you really see that come to life in soccer stadiums.

I curated this show [Shanghai Biennale ], I was by no means trying to shock people or be controversial.

There was a lot of stuff happening in Havana that was being heard and appreciated by New Orleans musicians because of this situation. And vice versa.

If you have free immigration, in the way we had it before 1914, everybody benefited. The people who were here benefited. The people who came benefited. Because nobody would come unless he, or his family, thought he would do better here than he would elsewhere. And, the new immigrants provided additional resources, provided additional possibilities for the people already here. So everybody can mutually benefit.

Art in progress. MAK has occupied a unique and valuable space as international host for discourse between the arts and architecture.

When I announced on my Facebook page that I'm coming to Israel, people started telling me that I shouldn't go there, but I figured that if I'm not going to come here, then I guess I can't go back to the United States anymore and I can never go to Russia again and I should probably never go back to Germany and I should probably never go back to France and I should probably never go back to England....All I see here is a really beautiful city.

I think it's what the times are demanding. If you're talking about the popular artists, they collaborate with a lot of different people and it seems to be in vogue now. It probably is indicative of the times.

I really love any and all manifestations of art, really respect any kind of artistic impulse, whether it's paintings and sculptures or really good filmmaking or music. I really see the relationships between these different mediums as very fluid. I think you see that nowadays, in this postmodern context, there's much more use of different mediums in contemporary art. For me, if you're a creative person, you can choose to make a painting, you can choose to make a film.

I think that cinema has always progressed through exchanges.