A Quote by Hans-Ulrich Obrist
Exhibitions usually are not collected; they disperse after they take place.
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We have to take ISIS oil, shut down all of the mechanisms whereby they can disperse money because they go after disaffected individuals from all over the place, and they're able to pay them.
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.
I have a publishing company of books by me and books of others. It drew people to poetry readings and photo exhibitions and painting exhibitions that I've been doing for years before that.
After retiring from competition in 1981, I did exhibitions and coached.
Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.
I don't often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.
After chiding the theologian for his reliance on myth and miracle, science found itself in the unenviable position of having to create mythology of its own: namely, the assumption that what, after long effort, could not be proved to take place today had, in truth, taken place in the primeval past.
I feel like the most fascinating parts of a trans life take place after the decision to transition. They take place when you're in this new body, in this new life, and you start realizing things.
From the time I was in first grade or so, my dad collected 'Star Wars' toy figures from the 1970s and '80s, and we'd take weekend family trips to antique shops and to toy stores. My father collected a crazy amount of 'Star Wars' stuff over the years, and he and I traveled to many conventions.
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.
And their greed was for gold or God. They collected souls as they collected jewels.
Bernard [Leach] had acquired many [Shoji] Hamada works. Some of them, it was interesting - first of all, Hamada worked in St. Ives for about four years before returning to Japan to start his own pottery. He had exhibitions in London, and if these exhibitions didn't sell out, the galleries were instructed to send the remaining work down to the Leach Pottery, where they would go into the showroom for sale. If Bernard saw one that hadn't sold that he really admired, then he would take it (he would buy it), and it would go into the house.
They had certainly exasperated them, and could not disperse them, as after every charge - and some of these drove the people right against the shutters in the shops in the Strand - they returned again.
I have always thought that it would be nice to not complete the exhibition in one place and close off the others as a result. Exhibitions should connect with various locations and promote exchange and interaction.
I don't necessarily write everything as automatically assuming it will be collected, there's nothing that says Hitman will be collected, though it might be.
Only in the context of the great encounter with Jesus can a real authentic struggle take place. The encounter with Christ does not take place before, after, or beyond the struggle with our false self and its demons. No, it is precisely in the midst of this struggle that our Lord comes to us and says, as he said to the old man in the story: ‘As soon as you turned to me again, you see I was beside you.’
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