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By Hans Ulrich Obrist, Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladd

A part of JRP|Ringer's leading edge Documents sequence, released with Les Presses du Reel and devoted to severe writings, this e-book contains a special selection of interviews via Hans Ulrich Obrist mapping the improvement of the curatorial field--from early self sustaining curators within the Sixties and 70s and the experimental institutional courses built in Europe and the U.S. throughout the inception of Documenta and a few of the biennales and fairs--with pioneering curators Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and Harald Szeemann.

Speaking of Szeemann at the get together of this mythical curator's demise in 2005, critic Aaron Schuster summed up, "the photo we've of the curator this present day: the curator-as-artist, a roaming, freelance dressmaker of exhibitions, or in his personal witty formula, a 'spiritual visitor worker'... If artists given that Marcel Duchamp have affirmed choice and association as valid inventive suggestions, was once it no longer easily an issue of time ahead of curatorial practice--itself outlined through choice and arrangement--would grow to be visible as an paintings that operates at the box of paintings itself?"

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FM within the overdue Nineteen Forties. HUO I’ve validated that there’s nearly an amnesia by way of the achievements of the curators who have been the 1st to express sleek artwork. That’s actual for instance of Alexander Dorner who labored on the Landesmuseum in Hannover, and I’ve performed loads of paintings on him. for instance, none of his writings are any more to be had in ebook shape. That evidently applies to Rüdlinger too. There’s an amnesia in terms of the background of curators, and the background of exhibitions too. FM i believe that’s frequently simply because their achievements have been meant for his or her personal time. whereas they have been influential, they've got still been forgotten. I definitely benefited from Rüdlinger’s paintings, in my Paris years too, 1951 to 1955. on the time he had the concept i'll be his successor in Bern. I hadn’t but accomplished my experiences. yet I authorized, and in 1955 begun because the director of the Kunsthalle Bern. whilst I hung my first exhibition, it used to be a really immense problem for me. yet i started to like the paintings. HUO What used to be so very important for you on your conversations with Rüdlinger? one hundred thirty FM My art-history dissertation was once at the stained glass home windows of Chartres. i used to be married to Chagall’s daughter, Ida Chagall. hence i used to be dwelling on the center of the paintings scene. whilst Rüdlinger approached me, I authorised his supply gladly. Then in Bern I geared up six to 8 exhibitions a yr. at the moment it needed to be performed with only a few staff—a caretaker, a secretary, and a cashier. HUO That’s how Walter Hopps defined the placement to me too. The bureaucratic outlay was once very small, and also you did such a lot issues your self. FM If we have been getting ready an exhibition with artists from Paris, we drove there with a truck and fetched the photographs ourselves. every thing occurred very at once. Exhibitions consistently closed on a Sunday night. in a single day to Monday every thing was once taken down. tomorrow the fabric for the hot exhibition used to be disbursed within the rooms. We started to grasp the works. Then on Wednesday I quite often wrote textual content, which I needed to hand in at the Thursday morning. the next Saturday, the respectable beginning happened. In that interval I exhibited an outstanding many Swiss artists, as the actions of the Kunsthalle Bern have been additionally strongly relating to the local context. in addition to that there have been after all additionally the ventures into overseas sleek paintings. those I take into accout so much vividly are the exhibitions of Max Ernst and Alberto Giacometti, [Oskar] Schlemmer, [Alexei] Jawlensky, and [Henri] Matisse, oh, and Odilon Redon too. HUO have been those exhibitions collaboration with the artists? 131 geared up in direct FM definite, simply in terms of Giacometti and Max Ernst after all. I knew Alberto Giacometti from my Paris days. He was once very welcoming if he sensed that the individual contacting him used to be sympathetic towards him. He can be a significant storyteller. i will be able to nonetheless listen his voice in my ear. knowing of his paintings got here from the adventure of being with him. For me the sculptures took delight of position, the 1956 exhibition in Bern was once very targeted, i feel.

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