YouSaid · the spoken record

Hans Ulrich Obrist

lines on the record: 79
first: 2026-04-15
most recent: 2026-04-15
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“Different fields of knowledge together going beyond the fear of pooling knowledge. I think that's very much a driving force.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“I think what is driving me, I think that we live in a world, I mean, Departure point of what is driving me was and still is that I want to work with artists and realize their projects and enabled their projects and support artists and their visions. So that's a driving force which never went away. But I think in addition to that there is another driving force. I think we live in a world which is increasingly polarized and separated and people don't talk to each other. And I think it's super important that we have situations where we can bring People together. And I think that's what exhibitions can do. I think that's what we're trying to do with our program at Serpentine. That's what I try to do with our exhibitions. And I think that idea of also breaking down silos and bringing”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Would say to liberate time for me, it's a very relaxing experience to be in a studio with an artist and switch off all the phones and disconnect completely and just focus on a conversation and forget time. So I think that's a way of slowing down. I also relax through reading a lot and jogging is very important, listening to podcasts.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“So, the broadly early club began in 2006, 2007 when I moved to London. And we kind of realized that it's become quite complicated to make meetings with friends because everybody is so busy. And so it always takes days and days to organize and has to be planned weeks in advance. And so we thought, how could we do meetings which are more improvised? And then we came up with this trick. We thought if we do it at 6 in the morning, nobody can say that they have prior schedule. So we basically convened coffee meetings at 6.30 in the morning and astonishingly almost 100 people showed up and it became a club.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Now it's also quite creative and productive because, in a way, I get another hour work done in the evening. And when I wake up in the morning, a lot of things are done.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“And I producer, so always after dinner in the evening from sort of 10.30 to 11.30, I would work another hour with the Niproducer and who would then realize correspondence or transcriptions or editing overnight. And in the morning when I wake up, it's done. And so since I have this system in place, I can sleep.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“I realized that that's not really sustainable. I did it for about six months, and it was actually quite productive, but not sustainable. I mean, Barzak also died in his 50s, so it wasn't sustainable. Then I found out that there was the Da Vinci rhythm, and the DaVinci rhythm is basically to sleep every three hours for 15 minutes. And that proved to be very productive and also not very stressful. I was quite somehow balanced whilst I did it, but it didn't work. when I started to have an office because obviously in an office we need to we can't then after three hours suddenly lie down for 15 minutes it wouldn't work or we have meetings and then it wouldn't work so then I stopped the da Vinci rhythm and then at a certain moment I realized that I needed because I think we all have an inner kind of rhythm and I need it about six six six and a half hours sleep so then I came up with this idea of having a night”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“more now than before so basically I had different experiments with sleep so initially when I began I wanted to write many books and so I was inspired by Balzac because Balzac had this rhythm that he drank up to 50 coffees every day and then”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Basically, visitable. So we organized visits in the scientific labs. We organized studio visits and we organized an exhibition where artists could basically work on this idea, what is a laboratorium, what is a lab, what is an experiment. And that continues to resonate somehow”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“But I mean, I did at the same time think that exactly that risk with utopia station continued to resonate for a long time. I think for me, in addition to Eutopia Station, another exhibition which was very, which was really an experiment with an uncertain outcome, but which continues to, I think continues to be inspiring was when we did laboratorium. There was an exhibition about art and science, and we wanted to basically look what is the laboratory of a scientist and what is the studio of an artist. We did that with Baba van der Lin in 1999 in Antwerp, and we declared the labs of the scientists.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“The biggest risk with an exhibition, we did an exhibition called Utopia Station, which was a truly utopic exhibition with record terminator Molly Nespit at the Venice Biennale, and it was basically in itself an utopia. And I think that was the biggest risk we took.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“In my early 20s, I had already traveled and made all these studio visits and then invited artists to exhibit in my kitchen and 29 people came over three months and the exhibition happened also in the fridge. And it was obviously a risk and it was also a very big excitement because it was the first time. And I always felt that with every exhibition it has to be that way. It cannot be a routine because if it becomes a routine Something gets lost.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“I think we always need to be more open. I think there is a tendency of... Yeah, I think particularly fear of taking risk is certainly something which because of course exhibitions which try to be new experiments can also fail. If an exhibition is a routine, I've always believed in, I mean, when I did my first exhibition in the kitchen,”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“I suppose the most important thing in terms of reinvention is openness, as opposed very often a lack of openness prevents us from that somehow.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“In my own work I mean, it's a permanent process, I think, of reinvention because I think every conversation, I mean, that's also the amazing thing of working with artists is that it's very transformative. When we do a project with an artist, we are no longer the same person afterwards. We have to allow to be changed by it. So I would say the reinvention happens each single time when there is a collaboration with an artist.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“And I'm sure they're going to be new dimensions to that. I mean, another thing we realized, particularly during the lockdown, is the even bigger importance of art in the park. So the idea that actually people can see sculptures outdoors because that was all people could visit during the lockdowns. The museums were closed, but one could see the art in the park. So that really encouraged us to do more of that. So it's kind of, yeah, there's always new dimensions added.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Five curators who work with technology, and Far was here with Inner Korek for myself. It's super important and for our teams that we can actually, with this department, produce reality for artists, but also through the future art ecosystem reports, which one can download from the Serpentine website for free, hopefully make the work we do with art and technology accessible for the sector. And I mean, the same thing happened with ecology. We worked very closely with the artist Gustav Metzko already around 2007, and he said it's extremely important that within an institution there's a kind of an environmental dimension to the work. And so we've invited artists to do projects for Earth to create projects for Earth and have done that also over the last years.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Otteleuz wrote the book called Repetition and Difference. Yeah, I think it's a super interesting question. I think in a way certain projects like the pavilion are also our solo exhibitions where the artists take over the whole building and can create a kind of a gesam constant can kind of show their world. They remain very relevant, but we always need to add new layers. And that's the kind of thing which I sort of mention briefly before, which means to also kind of introduce new departments. I think in a way, if you look at the organigram of museums, they're quite similar all over the world. And there are these different departments. And I think it's interesting that given the fact that we live in a time of extreme change, how we can actually add new departments. And that's kind of what we did with technology. We added a whole department. We now have...”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“And then there's, of course, the paradox of people who don't want to give interviews. I once had a conversation with the artist Stanley Brown, who never gave an interview about why he doesn't give interviews. And these are my unrealized conversations on Kavara, who also never gave interviews whenever I went to interview him. He said, we are not doing an interview, we're playing chess.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“And in terms of the archive, I think one thing which is also kind of interesting is that, of course, there are so many artists in the archive with whom I spoke again and again that can actually be exhibitions just on one specific person from my archive, which we started to do, you know, because in a way, if I have like 30 or 40 conversations with the same artist, that is almost like a project in itself. But I wanted to ask you about that. Do you think to do something with your data set of your podcast? Because that's also an amazing data set.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“It's maybe about 40, 50,000 books, and it's a lot of papers and notes and things like that. But I think what is interesting is what is interesting is that obviously the biggest part of the archive is on the cloud, is on hard drives, because that's the filmed conversations. I mean, I suppose like the same with you. It's the archive of your podcast. It's digital. And I think the question, which I'm not yet sure and which I'm very interested in exploring more in the future is of course what's going to happen with these modern 4,000 hours of conversations because it is definitely there is a great possibility that these conversations are more connected and that because there is so many patterns which emerge from this archive and I think that's what I want to focus on.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“I mean, Norway is a great example. There is an increased polyphony of spaces, and I think it has contributed a lot to the dynamics in the art world. And I've been involved quite from the beginning in the Luma project, which is the vision of Maya Hoffmann in AL. And I think that's a very interesting example for a very interdisciplinary art center where art is also connected to ecology, where art is also connected very much to a local bioregion, where art is connected to design and to architecture. at Luma.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“But I think that question of where is the center is redundant today because I think artists can work anywhere today. And very often artists set up their own structures also, which I think is very important. The idea that artists create their own artists run spaces, their own initiatives, their own schools. So yeah, we do have, I think, a very strong polyphony in the arts today. I think the other thing which certainly has changed a lot is that there has been an increased number, I would say, of private foundations, of private initiatives which have really created new possibilities and opportunities for artists. I think when I began in the 80s, 90s, there were very few private museums, private foundations with exhibition spaces.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“I mean, one of the things which has changed a lot, I think, over the last 30, 35 years that I've been in the art world is that we have very much a polyphony of centers now and that that's also being recognized. I mean, there has always been a polyphony of centers. But when I entered the art world, it was very limited to a few centers where basically the focus was. And I think today, and that happened through many new structures that happened through the biennials, that happened through many new initiatives, through many curators, I think through many artists' initiatives. I think today we have incredible art initiatives on all continents and we do have really a polyphony of centers. And that also means that for artists, I mean, the idea was always what's the center of the art world. And after the Second World War, Paris lost the center to New York eventually.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“In a way, it allows us to bring art and architecture together in an institution. And now it allows us also sometimes to have artists who actually have a desire to work with architecture to do the pavilion. Holaflo Eliason or also Theasta Gates, where the artists who did the pavilion, last year Marina Tabasun from Bangladesh. This year it's a very young office from Mexico at the Elanza. And that happens concurrently to what we do with Visual Art. And then we do the same thing with poetry. We connect a lot to poetry. We do the same thing also with music, as explained with Peter Dark. So in a way, we also believe that in a good program in a museum program, we need to show the visual art in connection to the other art forms.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“to win very big competitions. Lina got me from the British Museum competition, Friedais Corbedo is building a foreign ministry in Qatar, is also building a new metropolitan wing, Sumaya Valley, who was the youngest architect we've invited. She was 29 when we invited her. He's now building a very important bridge project. So you were part of...”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Initially, it was very well known artists because it's interesting that London is such a global city for many different things, for business, for many art forms. But it's interesting, it has also produced, London has produced an extraordinary generation or several extraordinary generations of architects, if you think of Sahad, if you think of Norman Foster, if you think of Richard Rogers, if you think of David Chipperfield, if you think of the Archigram group, if you think of Faship Moussa, if we think of Cedric Price. So it's an amazing, it has an amazing architecture scene.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Book kind of gave me the idea that one could meet the artists of our time. Because that wasn't an obvious idea initially, but all of a sudden I kind of realized that actually amazing artists out there of our time and I could go and meet them. And that prompted when I was 16, 17 this idea of visiting studios quite feverishly all over Europe. Of course, also having been so inspired by this book means that I always felt that we need in a program, in a museum, to kind of connect art and architecture. And that's what we do with our pavilion. We are now in a 26 year. And initially when the program started in 2000 with Zahad, so the pavilion program began in the year 2000 with Zahad. It was really about artists who haven't built in London before, who haven't built in the UK. And that is still the rule of the game.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Also, the program, because I think in your questions, I really like that question about what makes a good program. And I think your question leads in a way to that. It's a question of what makes a good program in an institution. I think it's about finding the right mix between very well-known artists whom one shows from an unexpected angle, new artists whom visitors can discover. But then at the same time also, if you want to understand the forces which are effective in art, it's important to somehow also understand what's happening in other disciplines. That's also why for us, for example, it's very important that we have this dimension with architecture, because if we look at Vazari in the Renaissance lives of the artists and lives of the architect, which is the book, which is somehow the reason why I became a curator, because as a teenager, I would always read it and read it. And I was thinking, I mean,”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“I think the program has to be a mix for our CEO, Fabina Korek, for myself, for the teams. But it's really important is that we have moments where we can show extremely well-known artists like David Hockney. last year Peter Duich or Soon to Come next year Lisa Bryce alongside younger emerging practitioners and I think the sort of a good program in the museum is a mix of that it's a mix of new unexpected position where visitors can basically discover artists they haven't seen before and at the same time they can see artists maybe they already know but from a different unexpected angle so it's about finding the right balance finding the right mix no”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“I mean, we are at the serpentine, we have free admission. We are in a park, we are in Kensington Gardens, and we want the experience to be for everyone. So we've always had free admissions, but we of course think a lot about visitor figures. We want the experience to be there for as many people as possible.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“I think there are many things. I think, of course, artists are really good at pivoting. And I think today we live in an environment where it's more difficult to predict the future. So I think in a way the way artists work with the unknowable, the way artists work also with questions of a modern, with answers, is something I think which can be very relevant today. And I think it's interesting in the 60s there was this idea of John Latham and Barbara Steveni where they had this idea of APG. They had this idea of an antisplacement group where they thought that every governmental structure but also every company and every corporation should have an artist in residence and maybe also an artist on the bar. And I think the time has come that we should realize that. I think it would be very exciting.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“No, he's got a very big body of work. He's written poems. He's written novels. He's written a very beautiful novel called Sartorius about a people whose identity is really defined through relations and at the same time he's also written on art. It's a very, very big, big body of work. One can always find new texts.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, exactly. That's a ritual, one of my rituals. Because that's one of the reasons why. Because I want to think every morning how we can contribute to this idea of Monde Alit ⁇ through what we do. You read the same.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Of enabling a global dialogue, but at the same time are deeply locally anchored in a way. So they resist the homogenizing forces of globalization, but they also don't fall into this trap that one goes from the local into the localist and no longer is open for a global dialogue. Glisson calls this Mondialite. So I think that's what the...”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Thank you. Yeah, that is kind of complex. I think in a way. Artists, I mean, we live in an age which has more and more homogenizing forces of globalization, and we kind of have a counter reaction to that. We can see which are new localisms, which is a lack of tolerance, which are new nationalisms. So I think we've got these two extremes. Now we've got the extreme globalization and the extreme counter reaction. And I think the most interesting practices right now do what the Martinikin philosopher Edouard Glisson, who has always been a big inspiration for me called Mondely. They kind of negotiate ways of working which are”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“The future, as Martha Rosselman says, always flies in under the radar. And we can't really predict the future of art. It would be preposterous for me to do that. I learned from artists every day. But I think what we can see right now, and we can talk about the extreme present, what's happening right now. And I think we can see that a lot of artists are interested in longer duration projects which go beyond event culture, which kind of, I mean, it's...”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Meet it with enthusiasm and probably most importantly that generosity is at the core of everything noted in a way. My advice would always be to someone to kind of be generous, to kind of have almost like generosity as a medium.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, so the advice to a young curator or creator is kind of a DIY idea that the work can start anywhere to be curious and learn constantly. I think to build long-term relationships, you asked me before about relationships. I think it's important that these are lasting evolving dialogues with artists and other practitioners. I think a protest against forgetting that that's also why I record these conversations, because I think we live in an age where we have more and more information, but that doesn't necessarily mean that we have more memory. So the protest against forgetting to embrace collaboration, I think to facilitate and foster new alliances and to be global and local at the same time, I think is maybe another important aspect. And then I think to follow what excites you.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Yaba, I mean the way I always write early in the morning when I kind of wake up and then I try to liberate some time in the morning before going to the office. I do some spots and then I write. And so I try to write a little bit every day.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Definitely. I've always had conversations with colleagues from the beginning. I mean, initially with people who are much older than me, I mean, I was very lucky to have these great mentors. And I think mentorship is super important. I think that we can mentor the next generation. And that's what happened when I began. I had a mentor in Kasper Koenig and in Susan Pach ⁇, two great professionals who were like 20, 30 years older than me and taught me the profession in a way.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Another question I always ask is the way a practitioner connects to other practitioners. So have they been part of a group? Has this group had a manifesto? Are the individual practitioners outside the group? It's interesting because obviously in my archive of more than 4,000 hours, a lot of the conversations connect to each other. And so it's interesting how artists connect to other artists.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Unfinished projects. Yeah, I mean, I think another question, because maybe the unrealized project we did enough, but you asked me all questions I always ask My favorite question is about the unrealized project because I think it's interesting what people would like to do outside the box, outside their parameters in which they work. Because I think very often people have dreams, people have unrealized projects which they would want to do, but they're somehow caught in a daily routine or maybe they're caught also by the parameters of their industry. And very often these projects could actually be very exciting. Then I think the second question which I always ask is what's your advice to a young artist, what's your advice to a young curator, what's your advice to a young practitioner, the kind of Reiner Maria Rilke question when he wrote this wonderful little book, which is an advice to a young poet. I would say another question I always ask is who are your mentors, what was the most important message you received from a mentor?”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Can I finish on the unrealized project? Yes, because there's a couple of now. And also, I haven't answered your question.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“This building, the San Francisco Art Institute, when that ended, there was a very big question what it would become in the future. And it has this Diego Rivera painting. And she decided to actually buy it and then guarantee that it would be a school for the future and ask Abi Charge LME to work with her together on ideas how such a school could be. And so that's definitely still an unrealized project which now will be realized, which I think can be very exciting.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“The Black Mountain College was these extraordinary school in the US after the Second World War. Joseph Alb was taught there. Cage. Bakminsta Fullah. It was a very interdisciplinary moment where art, architecture, music, science, it all sort of came together. And I think today there is a real necessity for such a school. I think that's something we're starting to work on. The rain-powered jobs basically”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, so my unrealized project is a long list because I think a lot of exhibitions I want to do early on fell through and are still one way or the other would like to do some of them. The Hildegard von Bingham project we are doing now with Ben Wickers and the sound war collective and these different artists is one of these unrealized projects. We always wanted to do something about healing up from Bingen so that's now happening. I always also felt having organized many exhibitions, worked in museums, being the artistic director of an institute at Serpentine, I've always been thinking what Is missing in the art world. And I think what is really missing today is a kind of a new black mountain college. What is missing is...”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“I think what we can learn is now it's an interesting question what we can learn from it but I think in terms of artists what we can definitely learn is what Maybe we need to kind of look at the range of the unrealized projects. I think there are many different types of unrealized projects. There are certain projects which are too big to be realized. There are certain projects which are too time intense to be realized. There are certain projects which are maybe unrealizable. There are utopias, there are dreams, there are certain projects which are censored. That can be a reason for it not be realized. And then, of course, there is also projects which are self-censored. Toris Lessing, the writer always said one category not to be underestimated is the self-censorship projects we would like to do but don't dare to do. And I mean, in terms of the art world, very often artists have projects outside.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“Poets, visual artists, filmmakers. But I suppose also in your field, at the end of the day, they don't know a lot about CEOs and unrealized projects. So I think it's interesting.”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source
“So, one question I always ask is the question about the unrealized projects, because I do think it's very interesting. I mean, I think we all, not only in the art world, we all do have unrealized projects. And it's interesting that it's only in very few professions that actually these unrealized projects are being published. I mean, architects do publish them because the competition culture, in a way, the architectural competition very often leads to them being published. We know very little about”
2026-04-15 · In Good Company with Nicolai Tangen · Hans Ulrich Obrist: What business can learn from the art world · IDENTIFIED FROM THE TRANSCRIPT · source