Ways of Curating
Ways of Curating
What can curating help us do? Hans Ulrich Obrist is one of the most influential figures in the art world today. Drawing on his own experiences - from staging his first exhibition in his kitchen to encounters with artists, impresarios and thinkers - he shows us how curating allows us to create new futures.
Drawing on his own experiences and inspirations - from staging his first exhibition in his tiny Zurich kitchen in 1986 to encounters with artists, exhibition makers and thinkers - Hans Ulrich Obrist looks to inspire all those engaged in the creation of culture.
Moving from meetings with artists to the creation of the first public museums in the 18th century, recounting the practice of inspirational figures such as Diaghilev, skipping between exhibitions, continents and centuries, Ways of Curating argues that curation is far from a static practice. Driven by curiosity, at its best it allows us to create the future.
Moving from meetings with artists to the creation of the first public museums in the 18th century, recounting the practice of inspirational figures such as Diaghilev, skipping between exhibitions, continents and centuries, the author argues that curation is far from a static practice. - Nielsen BookData
Fragment:
"Mondialite
Drawing on his own experiences and inspirations - from staging his first exhibition in his tiny Zurich kitchen in 1986 to encounters with artists, exhibition makers and thinkers - Hans Ulrich Obrist looks to inspire all those engaged in the creation of culture.
Moving from meetings with artists to the creation of the first public museums in the 18th century, recounting the practice of inspirational figures such as Diaghilev, skipping between exhibitions, continents and centuries, Ways of Curating argues that curation is far from a static practice. Driven by curiosity, at its best it allows us to create the future.
Moving from meetings with artists to the creation of the first public museums in the 18th century, recounting the practice of inspirational figures such as Diaghilev, skipping between exhibitions, continents and centuries, the author argues that curation is far from a static practice. - Nielsen BookData
Fragment:
"Mondialite
Edouard Glissant, who was born on Martinique in 1928 and died in Paris on 3 February 2011, was one of the most important writers and philosophers of our time. He called attention to means of global exchange that do not homogenize culture but produce a difference from which new things can emerge. Andrei Tarkovsky once said that our times were characterized by the loss of rituals, but that it was important to have rituals in order to find our way back to ourselves on a regular basis. I have a ritual of reading in Glissant's books for fifteen minutes every morning. His poems, novels, plays and theoretical essays are a toolbox I use every day.
The history and landscape of the Antilles form the point of departure for Glissant's way of thinking. The first issue that preoccupied him was national identity in view of the colonial past. That is also the theme of his first novel, La Lizarde (1958; English: The Ripening, 1959 and 1985). He considered the blend of languages and cultures a decisive characteristic of Antillean identity. His native Creole was formed from a combination of the languages of the French colonial rulers and the African slaves; it contains elements of both but is itself something independent and unexpectedly new On the basis of these insights Glissant later observed that there are similar cultural fusions all over the world. In the 1980s, in essay collections such as Le Discours antillais, he expanded on the concept of creolization, applying it to the worldwide process of continual fusion. Creolization; he writes, is a process that never stops:
The American archipelagos are extremely important because it was in these islands that the idea of Creolization, that is the blend of cultures, was most brilliantly fulfilled."
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What can curating help us do? Hans Ulrich Obrist is one of the most influential figures in the art world today. Drawing on his own experiences - from staging his first exhibition in his kitchen to encounters with artists, impresarios and thinkers - he shows us how curating allows us to create new futures.
Drawing on his own experiences and inspirations - from staging his first exhibition in his tiny Zurich kitchen in 1986 to encounters with artists, exhibition makers and thinkers - Hans Ulrich Obrist looks to inspire all those engaged in the creation of culture.
Moving from meetings with artists to the creation of the first public museums in the 18th century, recounting the practice of inspirational figures such as Diaghilev, skipping between exhibitions, continents and centuries, Ways of Curating argues that curation is far from a static practice. Driven by curiosity, at its best it allows us to create the future.
Moving from meetings with artists to the creation of the first public museums in the 18th century, recounting the practice of inspirational figures such as Diaghilev, skipping between exhibitions, continents and centuries, the author argues that curation is far from a static practice. - Nielsen BookData
Fragment:
"Mondialite
Drawing on his own experiences and inspirations - from staging his first exhibition in his tiny Zurich kitchen in 1986 to encounters with artists, exhibition makers and thinkers - Hans Ulrich Obrist looks to inspire all those engaged in the creation of culture.
Moving from meetings with artists to the creation of the first public museums in the 18th century, recounting the practice of inspirational figures such as Diaghilev, skipping between exhibitions, continents and centuries, Ways of Curating argues that curation is far from a static practice. Driven by curiosity, at its best it allows us to create the future.
Moving from meetings with artists to the creation of the first public museums in the 18th century, recounting the practice of inspirational figures such as Diaghilev, skipping between exhibitions, continents and centuries, the author argues that curation is far from a static practice. - Nielsen BookData
Fragment:
"Mondialite
Edouard Glissant, who was born on Martinique in 1928 and died in Paris on 3 February 2011, was one of the most important writers and philosophers of our time. He called attention to means of global exchange that do not homogenize culture but produce a difference from which new things can emerge. Andrei Tarkovsky once said that our times were characterized by the loss of rituals, but that it was important to have rituals in order to find our way back to ourselves on a regular basis. I have a ritual of reading in Glissant's books for fifteen minutes every morning. His poems, novels, plays and theoretical essays are a toolbox I use every day.
The history and landscape of the Antilles form the point of departure for Glissant's way of thinking. The first issue that preoccupied him was national identity in view of the colonial past. That is also the theme of his first novel, La Lizarde (1958; English: The Ripening, 1959 and 1985). He considered the blend of languages and cultures a decisive characteristic of Antillean identity. His native Creole was formed from a combination of the languages of the French colonial rulers and the African slaves; it contains elements of both but is itself something independent and unexpectedly new On the basis of these insights Glissant later observed that there are similar cultural fusions all over the world. In the 1980s, in essay collections such as Le Discours antillais, he expanded on the concept of creolization, applying it to the worldwide process of continual fusion. Creolization; he writes, is a process that never stops:
The American archipelagos are extremely important because it was in these islands that the idea of Creolization, that is the blend of cultures, was most brilliantly fulfilled."
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