Hans ulrich obrist biography of martin luther
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Curator- HANS ULRICH ORBIST
Related papers
Carolina Lio
Dissertation for the Curating Contemporary Art MA, Royal College of Art, London,
This dissertation originates from the observation of the shift, over the last two decades, of curating from exhibition-making to the curatorial discourse, which has caused a progressive detachment of curators from art, in some cases even becoming hostility towards certain practices. Some preferential forms in which the curatorial takes shape are programming, archive studies, and the inflation of pedagogical models of curation, amongst others; while they nourish distrust and suspicion towards the white-cube model, exhibition-making and art history research. Curatorial courses and academic debate are the starting point and the main field in which these (former-radical, newly-canonical) practices are fostered. However, when these positions migrate beyond the academic ambit, we should wonder about causes and conseq
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What Art Can Do
The following conversation took place on January 1,
Leon Kluge: It is the beginning of What will happen?
Alexander Kluge: It has been one hundred years since the Russian Revolution. Five hundred years since Martin Luther. Be careful of Silicon Valley. They’re the flower children of , so to speak. Which they heavily ignore. That is, the power of it.
Hans Ulrich Obrist: Ignore in what sense?
AK: Rejuvenation. In evolution there are living beings that don’t become fully grown but procreate in their youth and thus survive. And so they’re in the position to say, we can control technology in the world, and we can control the platforms, but we can’t simultaneously control the content. If you do that, it gets difficult. You can only control two of these three things.
We have to alter our communication between the arts. Every single battleship, as we know, is sunk in war. So we have to form the convoys. And they can’t be separated from
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Arthur Jafa in conversation with Hans Ulrich Obrist
Start ›Exhibitions›Arthur Jafa
How does the conceptual project ”making Black people human” function and how can one get film to swing like music? Arthur Jafa and Hans Ulrich Obrist met in Los Angeles in and discussed the film ”Alien”, Black Visual Intonation, and how Jafa started making photo books as a child. This conversation is also included in the exhibition catalogue.
Hans Ulrich Obrist: Could you talk about the very beginnings: how you came to be an artist, a filmmaker, a cinematographer, a photobook-maker?
Arthur Jafa: I don’t know when the start was. Somebody asked my dad about the books specifically, and he said, ‘Well, he&#;s been doing a version of those since he was a kid.’ It’s basically a form of OCD. It&#;s not whether you&#;re neurotic or not, it&#;s whether your neurosis is productive or not. For a long time, there was nowhere I went where I didn&#;t have one of these heavy-ass books with me. At the s