DATE 12/24/2015

Sylvie Fleury, Santa Baby

DATE 12/18/2015

The Bauhaus: #itsalldesign, Marcel Breuer Children's Chair

DATE 12/15/2015

Henri Matisse, 'White Alga on Red and Green Background' (1947)

DATE 12/14/2015

Picasso Sculpture, Bull

DATE 12/13/2015

ARCANA Launch and Signing for 'The Soviet Photobook'

DATE 12/11/2015

We Go to the Gallery

DATE 12/10/2015

Andy Warhol: Prints, Marilyn Monroe

DATE 12/9/2015

Andy Warhol: Prints, Electric Chair

DATE 12/8/2015

Agnes Martin, Untitled 1959 purple and grey painting

DATE 12/7/2015

International Pop

DATE 12/6/2015

Peter Schlesinger: A Photographic Memory 1968-1989, Amanda Lear

DATE 12/5/2015

Peter Schlesinger: A Photographic Memory 1968-1989, Reto Guntli backflip

DATE 12/4/2015

Hans J. Wegner: Just One Good Chair

DATE 12/3/2015

Martin Hyers and William Mebane's "HERE – 77070019" (2010)

DATE 12/2/2015

Marilyn Minter: Pretty/Dirty

DATE 12/2/2015

Jenny Holzer: War Paintings, Formica 3086

DATE 12/2/2015

Jordan Wolfson & Laura Owens Joint Book Launch at Ooga Booga, LA

DATE 12/1/2015

Modern Taste: Art Deco in Paris 1910-1935, Simone Kahn, Man Ray 1926 portrait

DATE 11/30/2015

Philippe Halsman's Jump Book, Brigitte Bardot

DATE 11/29/2015

Strand Books presents Dan Martensen, Author of 'Wolves Like Us: Portraits of the Angulo Brothers'

DATE 11/29/2015

Hiroshi Sugimoto: Seascapes, Lake Superior, Eagle River

DATE 11/27/2015

Vogue: Like a Painting, Paolo Roversi

DATE 11/27/2015

Vogue: Like a Painting, Peter Lindbergh

DATE 11/26/2015

Vogue: Like a Painting, Grant Cornett Still Life

DATE 11/26/2015

Vogue: Like a Painting, Grant Cornett Still Life

DATE 11/25/2015

Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer, Courtyard of a House in Delft

DATE 11/25/2015

Hiroshi Sugimoto Talk & Book Signing at The Strand

DATE 11/24/2015

Walter Chandoha: The Cat Photographer, Gift Kitty

DATE 11/23/2015

Walter Chandoha: The Cat Photographer

DATE 11/22/2015

Henry Leutwyler: Ballet

DATE 11/21/2015

Don McCullin, Sunday Morning, Chapel Market

DATE 11/20/2015

Holiday Gift Guide 2015: For Kids (& Parents)

DATE 11/19/2015

Leendert Blok: Silent Beauties, Color Photographs from the 1920s, TULIPA, Bleu celeste

DATE 11/18/2015

Artbook Corporate and Executive Gifts

DATE 11/18/2015

ARCANA Presents 'Photography is Magic' Multi-Photographer Signing with Charlotte Cotton

DATE 11/17/2015

Hans Schärer 'Madonnas & Erotic Watercolors' Opens at Swiss Institute

DATE 11/15/2015

Japanese Inspirations

DATE 11/14/2015

Henri Cartier-Bresson: The Decisive Moment, Sunday on the banks of the Marne

DATE 11/14/2015

Barbara Kasten: The Diazotypes

DATE 11/13/2015

Imponderable: The Archives of Tony Oursler, ESP Practitioner with Coins

DATE 11/12/2015

Peter Schlesinger: A Photographic Memory 1968-1989 at BOOKMARC

DATE 11/11/2015

ARTBOOK & Swiss Institute to Launch 'Imponderable: The Archives of Tony Oursler'

DATE 11/11/2015

Don McCullin, US Soldier Rescuing Vietnamese Woman

DATE 11/10/2015

'Both Sides of Sunset' Panel and Signing at the Brand Library

DATE 11/10/2015

Henri Cartier-Bresson: The Decisive Moment, Punjab India

DATE 11/9/2015

Henri Cartier-Bresson: The Decisive Moment, Christian Bérard, Jean-Paul Sartre

DATE 11/9/2015

Chef Mina Stone to Sign and Cook from 'Cooking for Artists' at As Of Now, LA

DATE 11/8/2015

Richard Learoyd: Day for Night, Agnes with Eyes Closed

DATE 11/7/2015

Richard Learoyd: Day for Night, Nancy with Tears

DATE 11/6/2015

Alvin Baltrop: The Piers

DATE 11/5/2015

Joaquín Torres-García: The Arcadian Modern, Construction in White and Black



JRP|Ringier's Lionel Bovier checks in with Hans Ulrich Obrist

In the current issue of JRP | Ringier's excellent print newsletter, publisher Lionel Bovier speaks with renowned curator, critic and art historian Hans Ulrich Obrist about books, music, new technology, and his vision for an "evolving, never-ending, and polyphonic novel of our time."

JRP|Ringier's Lionel Bovier checks in with Hans Ulrich Obrist
LIONEL BOVIER: You've often mentioned the importance of different paces within your curatorial and critical work, either slowing down or speeding things up to obtain results that would escape the routine of "usual formats." The least one can say regarding publications is that you've chosen the second option… You've become a true "book-machine"! And we, of course, have added to this with the release of A Brief History of Curating, as it has not only been reprinted regularly, but also translated into Italian, Brazilian, and Czech, and soon into Chinese, Korean, and Russian… I believe that, behind the energy you put into producing the content of this book and your generosity in letting it be published in all kinds of different contexts, lies a profound interest in the question of the dissemination and circulation of ideas. In a way, it connects with projects like Do It

HANS ULRICH OBRIST: Books have always been an important part of my curatorial activity. It started with the first exhibition in my kitchen, which resulted in a series of artists' books in a box. Ever since, I have been interested in editing artists' books and exhibitions in book form, such as Do It, an anthology of artists' instructions, or the formulas for the 21st century. Besides this are the interview books; I have so far recorded 2,500 hours of interviews and this can lead to all kinds of books. The interviews can be compiled according to geographies—all my London interviews or all my China interviews, etc. Or they can be ordered according to different fields and topics, like all my interviews with composers or architects. The Brief History of Curating book is part of this category. I became interested to find out more about the history of my own field, and who the curators were from previous generations who offer a toolbox for the 21st century. Panofsky once said that we always invent the future from the fragments of the past. Now, to answer your question on speed and slowness, Jean-Philippe Toussaint has just written an amazing new book on urgency and patience; for books we always need both urgency and patience.

LIONEL BOVIER: A Brief History of Curating has been acknowledged as a source book for students and professionals alike; for someone like you, who believes in the importance of "oral history" and alternative methodologies for art history, I think it's an interesting sign of recognition, as well as a meaningful echo of your understanding of the curator as a "passeur" in the Benjaminian sense, a recessive and intermediary figure.

HANS ULRICH OBRIST: I hope that books can be toolboxes. A Brief History of Curating felt very necessary, as many of the pioneering curatorial ideas of previous decades are poorly documented and I felt the urge to follow Eric Hobsbawm's "protest against forgetting" and bring these ideas back to life. The curator is indeed a "passeur" and Benjamin was an influence; but also Robert Walser who taught me that everything is in-between. During my adolescence I read Carl Seelig's book about his famous walks with Robert Walser again and again. It is this book that gave me the idea to start to record and write down the conversations I have with artists. Jonas Mekas gave me the idea to film them, so since 1994 all the interviews exist also in film form.

LIONEL BOVIER: A Brief History of Curating is now, since this year, available as an eBook, on iPad, Kobo, and Kindle formats; how do you envision the importance and the development of these formats in the near future?

HANS ULRICH OBRIST: I am excited that A Brief History exists as an eBook and in other digital formats. I think digital technology will be very useful for making accessible my archive of filmed interviews. We have started a project with the University in Karlsruhe and the Los Angeles-based Institute of the 21st Century to digitize my archive. So all the interviews I did with Cedric Price were tagged and are now online and one can put in keywords like "Fun Palace" and then see all the moments Cedric talks about this visionary and unrealized art center. One can imagine that, in the near future, when the entire archive is tagged, the different protagonists can start to talk to each other and it can all become an evolving, never-ending, and polyphonic novel of our time.

LIONEL BOVIER: The new volume we are working on, A Brief History of New Music, is an anthology of interviews with avant-garde, experimental, and cult composers, tracking the evolution of music from Stockhausen to electro-acoustic, and bringing to the fore figures such as Tony Conrad, Brian Eno, and Kraftwerk. I would say that this interest in music is one of your "horizontal" translations from the field of visual arts to another field, as you did with architecture, for instance. Would you agree?

HANS ULRICH OBRIST: Alexander Dorner, the most visionary museum director of the first half of the 20th century, said in his book "Ways Beyond Art" that if we want to understand the forces effective in visual arts, it is important to understand what is happening in music, in literature, in architecture, in science, etc. After an initial phase focused on art, I started, from 1991 onward, to carry out intense research in science and architecture, which led to projects such as Cities on the Move and Laboratorium. When Rem Koolhaas invited me in 2000 to co-curate with himself, Stefano Boeri, and Sanford Kwinter, the millennium show MUTATIONS, I focused on the invisible city, the rumor city, and the city soundscape. This show triggered an intense research in sound and many interviews with composers. Many of these interviews are now gathered together in this book, such as the conversation that Philippe Parreno and I had with Pierre Boulez about polyphony and scores (and scores of scores). This conversation was itself the trigger for Il Tempo del Postino, the opera Philippe and I co-curated for The Manchester International Festival and Art Basel/Beyeler Foundation at the Stadt Theater in Basel.

LIONEL BOVIER: In general, how would you describe the importance of printed matter in your practice and, specifically, how would you define the relationship between curatorial practice and publishing?

HANS ULRICH OBRIST: An exhibition in printed-matter form is as important as an exhibition in an exhibition space. I have never curated a show that has not produced either a book, an artist's book, or a pamphlet. Curating is like running a book machine; and as Anthony Powell wrote, "books do furnish a room."
JRP|Ringier's Lionel Bovier checks in with Hans Ulrich Obrist
JRP|Ringier's Lionel Bovier checks in with Hans Ulrich Obrist
JRP|Ringier's Lionel Bovier checks in with Hans Ulrich Obrist
JRP|Ringier's Lionel Bovier checks in with Hans Ulrich Obrist
JRP|Ringier's Lionel Bovier checks in with Hans Ulrich Obrist
JRP|Ringier's Lionel Bovier checks in with Hans Ulrich Obrist
JRP|Ringier's Lionel Bovier checks in with Hans Ulrich Obrist

JRP|Ringier's Lionel Bovier checks in with Hans Ulrich ObristPhoto: Juergen Teller

A Brief History of Curating

A Brief History of Curating

Paperback, 6 x 8 in. / 200 pgs.

$24.95  free shipping

A Brief History of New Music
A Brief History of New Music

Do It
Do It

Hans Ulrich Obrist: Interviews
Hans Ulrich Obrist: Interviews

Hans Ulrich Obrist: Interviews, Volume 2
Hans Ulrich Obrist: Interviews, Volume 2

Cities On The Move
Cities On The Move


Paul Chan Interview

DATE: 3/28/2012


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