A Quote by Hans-Ulrich Obrist
For me, the idea of curating can be expanded. Curating science, curating art, music and theater and performance and not only bring those things into art but bring art into those areas.
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Here's the new art of the twenty-first century: the art of curating, the art of plucking all the good stuff from a superabundance of crap.
Making art is not the matter of a moment, and nor is making an exhibition; curating follows art.
I don't always enjoy curating, but I do believe it's part of my job. It's a good exercise for my brain, like warming up. Just focusing on my work would be so depressing! For me, curating is necessary - it's like physical training.
I do think things like old furniture and art are arbitrarily assigned. And I say that coming from an uneducated place in terms of, you know... art... curating. But who's to say what's valuable and what's not? I guess I feel like in the end it's all pretty meaningless 'cause we're all going to die.
As a total activity - I practice curating, art, architecture, writing, and publishing all together. I still act as a living creature.
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.
More and more, museums will look at restaurants and chefs differently - as if they are curating art.
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.
I think of other artists as generous when I get inspired by their work. That's why I like curating. You don't want to take someone else's art and have your way with it. You've got to be respectful of them.
Museums and galleries do recruit art historians, but they are overwhelmingly white and middle class, or else from abroad. They understandably fret about the lack of diversity in their curating departments, but is it any wonder?
Sometimes you do have people who are great at curating; sometimes you have people curating who don't know what they're do.
Of course, the process of curating is different from art making. Exhibition-making is a process that involves collaboration with various participating artists.
In hindsight I can see that my love for the arts began by watching my father and his colleagues perform on stage in Jamaica, and running a muck among the exhibits of fabulous Jamaican art at the National Gallery while mum was upstairs curating.
The alchemy of good curating amounts to this: Sometimes, placing one work of art near another makes one plus one equal three. Two artworks arranged alchemically leave each intact, transform both, and create a third thing.
Since 2000, I've been based in Paris at the Musee d'Art Moderne de la Ville, curating the programme there. Internationally, it's a very open situation that goes beyond national boundaries; directors and curators move from one country to another, which has opened up the museum landscape.
Those are the murderers of art who are sitting on the top wearing crowns of fake intelligence. Let me bring them down with the power of my art, without delaying the matter further.
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