A Quote by Hans-Ulrich Obrist

I started going to exhibitions in Switzerland when I was 10 or 11. As a schoolboy, I would go every afternoon to see the long, thin figures of Giacometti. — © Hans-Ulrich Obrist
I started going to exhibitions in Switzerland when I was 10 or 11. As a schoolboy, I would go every afternoon to see the long, thin figures of Giacometti.
I still remember my first Giacometti exhibition, and going back to the museum every day, whenever I could, to look again and again at these long, thin stick figures, so beautiful, so graceful. That, I think, was the moment I became really obsessed by art.
I remember after 9/11, I started - I was working quite a bit in Vancouver. And then I realized I would go to catch my flight, and it would take me like 20 minutes to get cleared to fly, like, every time. I'm like, what is going on?
I'm in bed by 10, but I may not actually go to sleep until 11. It doesn't take long. I just breathe in and out maybe 10 times, and that does it.
I create my own schedule, so you start out each day and you say, "Okay, from 10 to 11 I'm going to write," and on the dot at 10, I went downstairs, got dressed like I was going to work, and at 11 I stopped. I don't know why, what kind of wizardry about that worked, but having the structure for a month, I was dishing out songs.
Every year I just kept going back to gymnastics, but I didn't start out training 10 hours a day. When I turned 10 or 11, I got more serious and I focused a lot on making it to the elite level, and from there I just kept going.
?s long as I've got an audience out there to play for, I'm going to continue to play. I have at least enough people that I can go out on the road for 10, 11 weeks at a time.
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.
Because when you're 10, 11, 12, 13, you see all these strokes and you want to copy them. And it's not easy to keep what you started with, if that makes sense.
There was things just like not being able to date or - I'm talking like 15, 16 - like just certain things that my friends started to do. Like, they started to get phone calls from girls or like, you know, go and hang out 10, 11 at night, kind of going to the movies. There were just certain things that - it's not that I couldn't do all of those things. It's just that every choice was really deliberate and conscious and thought out and sort of balanced against the religion in a way where I felt - I wasn't necessarily trying to convert at 12 like [my mother] was.
Women became almost our bigger audience. Teenage girls went crazy for my movie. I saw it. I went to theatres all over and there were gangs of girls going and screaming. There were kids that were 10 or 11 years old when September 11 happened. They've been told for years they're going to get killed, they're going to get blown up. Every time you go on an airplane, X-ray your shoes because you're going to get blown up. Terror alert orange, don't travel. So, people have a reaction and they want to scream. Horror movies have become the new date movie.
I love a fresh coffee in the morning and one with a snack mid-afternoon. But I'm strict I don't have it after 4 in the afternoon as it stays in your system for too long and I don't want it to affect my sleep as I have to been dozing off by 10 o'clock to get up for half four.
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.
I've been playing the viola since I was 6 years old, and then I decided to switch it up a bit, so I've been playing the violin since I was 11. I started playing the piano when I was 11, and I started playing the guitar when I was 10.
I grew up in Canada and I was 10 years old when 9/11 happened. And I think that really changed the landscape for Arabs around the world, obviously, but especially Arab actors, I think we started getting viewed a little different. Like, my whole experience just as a kid before 9/11 and after 9/11 was drastically different.
If you think about the way we experience art, the paradigm is still Western European. If I go to the National Gallery, what am I going to see the most of? I'm not going to see a whole lot of black figures in pictures.
I was born and raised in Nigeria. We lived in England when I was 3 and 4, and I would go to summer school every year in Switzerland.
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