HANS ULRICH OBRIST, art director The Serpentine Gallery London
Entrevistamos al director artístico y director de programas de The Serpentine Gallery London, Hans Ulrich Obrist.
Hans Ulrich Obrist es el director artístico y director de programas de The Serpentine Gallery, la galería de arte pública y gratuita que se encuentra en Hyde Park London, alberga alguna de las exposiciones de vanguardia e innovación en el arte, más relevantes a nivel internacional. Con un papel más que importante en el mundo del arte, forma parte del corazón de Londres. Hans Ulrich nos cuenta como gestiona el emblemático espacio y qué tipo de pautas sigue a la hora de seleccionar las exhibiciones. Una colaboración exclusiva y todo un lujo, poder hacer esta conexión de The Serpentine Gallery y el Círculo de Bellas Artes de Madrid, no te lo pierdas.
Escucha la entrevista online, preguntas en español y respuestas en inglés, y en breve, podrás leer aquí la transcripción y traducción en ambos idiomas.
Interviewer: The Serpentine Gallery recibe más de un millón de visitantes anuales, en el corazón de Londres, en Hyde Park. Hans Olrich, bienvenido al Círculo de Bellas Artes, si te parece, empezamos hablando de cuál es tu trabajo en la galería.
Interviwee: I was trying to serve a time in 2006, eleven years ago as co-director and I’m now the artistic director of the galleries and that’s it.
Interviewer: ¿cual es el principal reto que te encuentras a la hora de desarrollar tu trabajo?
Interviewee: You know our work involves really exciting aspects of contemporary culture because we look at contemporary art in its connection to science, to music, to literature because we believe that you can only apprehend the causes of 02:00 out if we look also at what’s happening in other disciplines and basically at right moment we have an exhibition of profiling of the senior English citizen in their eighty’s he’s one of the most influential, dynamic, energizing, painters of all time and that will be followed by two visionary digital artists in Eon Chang and Perry. In fraying our digital season we work very closely with them and showing experiences of 02:25 reality or comment reality and also for the first time we see Eon Chang show he has an artificial intelligence project he develops a new character called Bob and this character will evolved throughout the duration of the exhibition. So you know the program is my responsibility with our exhibition team and I’ll see you are you, I just respond to this a new chief Technology Officer because and your key strategy I had for supper time if you did it’s a problem for a map institution to have a C.T.O. she’s technology our society for century. And of course you know fundraising is an important part of running a public art institution today.
Interviewer: Actualmente cuales a dirección a nivel artístico de la galleria
Interviewee: There is a program involves contemporary act, exhibitions and as we don’t have a collection we work with artist very special projects they can take over the building of one of our two galleries and develop a kind of work of art. Believe a lot that we could only address to be questions of the twenty first century if it go beyond to see us pooling knowledge, if we pull the knowledge from all the discipline and you know we show these art exhibition and it’s ramification to connections, to science and all other disciplines and of course it’s division in to two culture where there is going to be one hand science and the other one art and the humanities and we believe in developing a self culture so the very much connected to the idea of Trump, rock friend and peace these actch organization ach.org the idea of sub-coach and that manifest itself in our idea first in our laboratory and in the Manhattans. So you can say the seven times mantion is no end to experimentation, our architectures are who designed our gallery and trustee for 20 years always a challenge to people and to experimentation and that’s all i’m trying to get.
Interviewer: Que tipo de pauta sigues en la gestión de la valoración de artistas y nuevos conceptos artísticos.
Interviewee: I already told you about one line which is about technology and how artist engaged with A.I and A.R and programmatic reality, artificial intelligence Russian reality.You know I don’t think he sees new mediums and in the twenty first century a second And traditional You are among the first museum show up for young actors at the moment it’s. Amazing African-American ops, Sort of show you know your medium in Europe at the second time and I would say to take also the protest against forgetting they’re also showing pioneering artist like at the moment Rose Wally who is 83 and has never had a museum. He had a show in London institution as a career and celebrate it here. Because we can remember a protest against forgetting my friend Eric the historian visual mind also met the late Eric, he always say you know in these information age we need to protest against forgetting and it’s not because you have my mind for me that you necessarily Also if my memory in amnesia. well be that the media is for it to cross this digital age so that would be another string in our program and of course there is architecture we build a pavilion every year on the small piece of land in front of finance and invite a contemporary architect to build a pavilion and so the architecture will be another string of problem then we’re also having a string of program with design and a public programs of culture that’s nice if you’re matching up just recently fallen cities and invite some artistic 05:50 are kind of knowledge people. The crimes fifty to sixty seventy participants so that’s probably true and out of our education straight erection very strong and educate not only in terms of outreach but also trying to involve very very centrally you know educational programs some of you rushing out to several projects our streets she’s right here the second time which I set up to do research, verification the connections to run to two different cities in the Middle East it’s a very different you know in London all these neighborhoods are very mixed into extra roll at least the streets you know very nice gardens and so it’s actually closer just residents East and opposition you know in Beirut about and that you know you creation projects projects from Treasury and the whole road on the actual For some of your cities but. Growing into neighborhoods if I can get from point two million visitors. But you also want to go into other neighborhoods to reach out and trade missions are and other. Properties to the society I mean for distribution in the society for accessibility inequality it’s already happened to free admission to collapse you know if you charge ten or twenty euros you know initiation space you exclude big part of the population but I want to tell your story last a touch rather drop me early one morning in terms of Chicagoan I came back from a trip back at seven am and clearly out of opening hours so the truck driver assumed I was rock star and he asked me you know taxi driver asked me if I was rocketed up I said Yes I was if you got wrecked and I couldnt ask him any question he said he wanted to not ask a question but tell me a story to express his gratitude because he had come. To stop on a walk in the park and they walked in the park or something and then all of the sudden it’s all pretty and you know I spent architect from Spain to a place to Madrid and. Millions of. Cities are all pretty and so running to the comedian and you know actually I didn’t run into it and I tried to read. Well you wanted to start but he stopped me and she ever since only read architecture books and she’s now convinced that shes gonna become an architect That’s very interesting that he said he would if you were child. Sex would never have the experience she made because he would never come to a museum because he thinks it’s not for people like him so I think it’s very very potent that that we make our successes for everyone because I know you and I believe in that’s probably because I was very young and I was just totally transformed because I could go to museums.
Interviewer: ¿que puedes decir de las diferencias entre espacios privados y públicos en el mundo del arte, cultura?
Interviewee: I cannot talk about the commercial sector because i know nothing about it, m side is being discusses project, book, exhibitions. I just have no knowledge about the commercial sector and i think we should have talked about you don’t know about. I think that other people who are expert of that they can tell you much more.
Interviewer: Se puede aportar nuevos conocimientos y cambiar la educación de la sociedad a través del arte?
Interviewee: Yes i think it’s very very important that the education part is a very improb aspect of the gallery and it’s important and not the only to communicate exhibition. This education program is to outreach, but its important to involve our artist very closely, our artist are great educator. 09:41 in collaborations with city hub, its the Major of London You know who run structure what is your problem and you got to be the man we study candidate just sometimes you know of any budget to meet everybody. I think I do you know if you know and I think if you thought you. To be involved in these invading these breaches of society it’s improper not just to make submissions and then communicate them and make education program to run time to talk to a robot that you have very straight been. A very close connection to artists and evolves out of the dock you’ve got to textural for exhibitions for projects programs for architecture also for education.
Interviewer: ¿A la hora de valorar nuevos artistas y nuevos conceptos artísticos, qué criterios sigues?
Interviewee: I mean of course the most difficult thing The most difficult thing used to stay relevant for the stay relevant over time Chris is that you look at the and you look at it and you look at it and it’s still relevant sometime and you each time see something as it is right today you know look at growth and we can connect it today to up to what’s happening in many parts of valley talk even exactly knowing about the wrong side of that is opposite so it’s not transcend its proxy can transcend it’s. Great to do such as not you know straight and to knock It’s not a little strategic not redundant to take actions he doesn’t especially but it is something which is deeply rooted in the party’s body transcending he said he’s transcended I think a great completed it transcended a duty to a great artist opening prosperous you know to this.
Interviewer: The Serpetine Gallery es una galería muy innovadora, como gestionas la creatividad del espacio para que siga siendo un punto de referencia en vanguardia?
Interviewee: Yea i mean i have 30 looking at different criteria and then of course we also 11:48 and there are local and global consideration. You know we need to ask ourself what does London need and what does the world need so there is a local and the global necessity and if you only work for the local audience you know you’re missing out because there are so many visitors from abroad you know who are coming, It’s a global but if you are only working for the global audience you are also missing out because you have a very strong local audience so. It will actually saw the two books you read every morning so I mean every morning when I wake up and we did a rocky shock and some of it is also translated in Spanish you can find it. Ready to spend you can find it because I did mine to Spanish but it really understood that the period of globalization of cross-stitch the Museum of rowdies Knoppix I’m from about the fathers of a suspect it’s called the opera better the downside and the downside is that the modernizing fossil scrubbers nations are very dangerous to destroy our differences to destroy that recipe that you wrote defenses you know languages disappear the species disappear ultimately our own species is distracted by extinction you know I didn’t get ready I mean state massive six extinction. So all of that is a force globalization which you know for technology lead to a ecological disastrous that needs to be a bucket resistant so we need to restore much of the focus of globalization but in the same time you know we do have a true possibility today of global dialogue and I always said you know the counter reaction to publish a counteraction to globalization could even be mob dangerous it could lead to new locations to new nationalism to new racism you know which we cannot serve or in many part of the world and so these are the reason we need to resist to globalization has the opportunity to resist you know the counter-reaction which refuses a global dialogue and we need to come up with Be Done That is to globalisation and not advising. That you know way to produce this difference I don’t think it can do and that’s what you try to do with a suppertime and it’s a little bit of a discipline thank you very Much a futurist you know what Richard is action and Dr Ishmael devoutly and sort of I mean if you need studies very much concentrate on the art. Concentration organization and of course you know we need to at the same time.
Interviewer: El futuro de The Serpentine Gallery, cuál es el principal reto?
Interviewee: I mean if you need studies very much concentrate on the art. Concentration organization and of course you know we need to at the same time also have an outreach so devoted a very special hour sixty patients because exhibitions of sharks will reach a big audience and as I said we have funded one point two million visitors every year and. French nobody from the new or MA You’ve already factored in the world I’m on to do something which is most advice. And I believe that we need to do exhibitions which I most admired through out of our people out of that is something which very much to Tom as you know our program began to make complex contribution to the to the series on to make a contribution to the radical experiments for exhibitions are going to be based space I’m safe I.D.’s are going to be a base salaries of freedom for our property freedom and yet the same time also prompted us to reach you know into the art of if you think about a picture on my own not only of our speaking to the people who are already coming that is about reaching out and I would believe you know those are connected because the impact Also if it reaches people who might have really a reluctance thought it might never really have had a complex regard thanks very very improper because these breaches sort of stop at Donnie’s of bridge building organization building managed riches into society and we believe that I should be at the table you know of decision making in society which is also related to sixty vision of translation who live in a front of a small group and yet here was that they would actually position place opposite in society and that’s a very improper propped of what we believe can do.