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Since Hans Ulrich Obrist--museum director, curator, writer, cultural instigator and professional conversationalist--released his bestselling first volume of interviews back in 2004, one wonders if there is a living artist, musician or writer left with whom Obrist hasn't recorded an interview. Happily, of course, there are plenty. Obrist--who was born in Zurich in 1968, and who joined London's Serpentine Gallery as Co-Director of Exhibitions and Programmes and Director of International Projects in 2006--makes it his business to cross paths with the most significant thinkers of our time, from in or outside the artworld. Since 1993, he has conducted literally hundreds of interviews. The 70 published here are taken from an archive containing nearly 2,000 hours of recordings and organized by interviewees' dates of birth. Volume 2 is another collection of insightful dialogues with a diverse group of architects, artists, filmmakers, historians, musicians, philosophers and writers--including Björk, Miranda July, Studs Terkel, Czeslaw Milosz, Alejandro Jodorowsky, Emmett Williams, Merce Cunningham, Richard Hamilton, Doris Lessing, Beno"t Mandelbrot, Kazuo Shinohara, Jacques Herzog, Ai Wei Wei, Arto Lindsay and Michel Houellebecq-- a rich trove of international cultural thought spanning the past 100 years. Encyclopedic in scope but intimate in tone, these exchanges provoke unexpected torrents of biographical trajectories, theoretical adventurings and inklings of projects to come.

For the first time in a single volume, more than 40 artists offer their interpretations of the work of architect Luis Barragán, winner of the Pritzker Prize and whose home and studio was listed as a UNESCO World Heritage site in 2004. The collection examines his texts, installations, drawings, and photographs, creating a kaleidoscope that projects his oeuvre from the present toward the future.  Reúne por primera vez en una sola obra a más de 40 artistas alrededor de la obra del arquitecto Luis Barragán—ganador del premio Pritzker y cuya obra ha sido catalogada por la UNESCO como patrimonio de la humanidad. La colección reinterpreta su trabajo desde todos los ángulos: textos, instalaciones, dibujos y fotografías—en un calidoscopio que permite proyectar la obra de Barragán hacia el presente y el futuro. 

Since the mid-1960s when he started out as a fledgling critic, Dan Graham has carved out a unique role for himself, expanding the scope of the Conceptual artist to incorporate art criticism, music criticism, photography and architecture. For this volume, curator Hans Ulrich Obrist met with Graham on several occasions to discuss the artist's work, life and the numerous interests he passionately follows. The conversation thus wanders seamlessly from architecture to rock and roll, philosophy to astrology, Graham's early performance pieces, photography and articles, to the films and glass pavilions for which he is best known today. A fountain of art folklore, Graham offers recollections of friends and colleagues, art work and influences, providing an invaluable insight not only into the New York art scene of the 60s and 70s, but also one of its most influential representatives.

Since Hans Ulrich Obrist--museum director, curator, writer, cultural instigator and professional conversationalist--released his bestselling first volume of interviews back in 2004, one wonders if there is a living artist, musician or writer left with whom Obrist hasn't recorded an interview. Happily, of course, there are plenty. Obrist--who was born in Zurich in 1968, and who joined London's Serpentine Gallery as Co-Director of Exhibitions and Programmes and Director of International Projects in 2006--makes it his business to cross paths with the most significant thinkers of our time, from in or outside the artworld. Since 1993, he has conducted literally hundreds of interviews. The 70 published here are taken from an archive containing nearly 2,000 hours of recordings and organized by interviewees' dates of birth. Volume 2 is another collection of insightful dialogues with a diverse group of architects, artists, filmmakers, historians, musicians, philosophers and writers--including Björk, Miranda July, Studs Terkel, Czeslaw Milosz, Alejandro Jodorowsky, Emmett Williams, Merce Cunningham, Richard Hamilton, Doris Lessing, Beno"t Mandelbrot, Kazuo Shinohara, Jacques Herzog, Ai Wei Wei, Arto Lindsay and Michel Houellebecq-- a rich trove of international cultural thought spanning the past 100 years. Encyclopedic in scope but intimate in tone, these exchanges provoke unexpected torrents of biographical trajectories, theoretical adventurings and inklings of projects to come.

The life story of the highest decorated soldier of the Wehrmacht. Many photos of Rudels aircraft.

Following the success of Hans Ulrich Obrist’s A Brief History of Curating, this publication gathers the influential curator’s interviews with some of the foremost musicians and composers of the 1950s–1990s. It brings together leading avant-garde composers of the early postwar period such as Elliot Carter, Pierre Boulez and Karlheinz Stockhausen; pioneers of electroacoustic music such as François Bayle, Pauline Oliveros, Iannis Xenakis and Peter Zinovieff; minimalist and Fluxus-inspired artist-musicians such as Tony Conrad, Henry Flynt, Phil Niblock, Yoko Ono, Steve Reich and Terry Riley; and figures that have moved between classical/experimental realms and more pop terrain, such as Brian Eno, Kraftwerk, Howie B., Arto Lindsay and Caetano Veloso. Obrist’s interviews map the evolution of the new music in Europe and America across all of its genres, from musique concrète to the recent hybridizations between pop and avant-garde, as techniques from both realms cross-pollinate. A Brief History of New Music is an ideal introduction to the experimental and new classical music of the past half-century.

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Since the mid-1960s when he started out as a fledgling critic, Dan Graham has carved out a unique role for himself, expanding the scope of the Conceptual artist to incorporate art criticism, music criticism, photography and architecture. For this volume, curator Hans Ulrich Obrist met with Graham on several occasions to discuss the artist's work, life and the numerous interests he passionately follows. The conversation thus wanders seamlessly from architecture to rock and roll, philosophy to astrology, Graham's early performance pieces, photography and articles, to the films and glass pavilions for which he is best known today. A fountain of art folklore, Graham offers recollections of friends and colleagues, art work and influences, providing an invaluable insight not only into the New York art scene of the 60s and 70s, but also one of its most influential representatives.

The challenging French conceptualist Gonzalez-Foerster is prominent on the international scene. For Skulptur Projekte Münster 2007, she showed small-scale replicas of other Münster fair works, past and present; for her recent ARC Paris museum show, she collaborated with designer Nicolas Ghesquière. Here she speaks with fellow relational aesthetician, Hans Ulrich Obrist.

Here, Hans Ulrich Obrist and Hans-Peter Feldmann have decided to play with the interview format: Obrist poses the questions in writing and Feldmann answers each of them with a picture. The results are frequently funny, and an impressive exercise in visual thinking.

Over the past three and a half decades, Marina Abramovic’s astonishing oeuvre, with pieces in which she performs feats of extreme endurance or mortification of the flesh, has laid bare--perhaps more than any other artist has done--the human body’s strengths, limitations, vulnerabilities and complex bouquet of meanings. In addition, her projects have simultaneously provoked and deflected intense curiosity about who could possibly want to publicly subject herself to such agonizing conditions: who, in short, is Marina Abramovic? In this revealing set of conversations--conducted in train stations, hotels, galleries and her own private studio--between Abramovic and curator Hans Ulrich Obrist, with the occasional addition of other interlocutors including Gustav Metzger (the “Old Master of action art”), the artist talks about her work, the strict discipline of her Yugoslav childhood and the process of preparing for her epochal retrospective at the Museum of Modern Art in New York.

In this volume, Hans Ulrich Obrist elicits from New York art veteran Yoko Ono a portrait of her life and career that is unprecedented in detail. Across five interview sessions, Obrist quizzes Ono about her earliest works in visual art and music in Japan, her musical development in New York, her friendship with John Cage, her Fluxus days, the founding of the new state of Nutopia with John Lennon and her ongoing campaigns for world peace and human rights. Ono also recounts here the genesis of her installations and performances, so many of which have since become classics of their genre. Throughout these discussions with Obrist, in which architects and artists such as Rem Koolhaas and Gustav Metzger also participate, this icon of twentieth-century culture shows herself to be a generous and smart personality, and a multifaceted artist of enormous influence.

It is not an exaggeration to write that Hans Ulrich Obrist is everywhere, has curated everything and has interviewed everyone. If "peripatetic" is the word most overused to describe him, it is not inappropriate. The Swiss-born, everywhere-based curator and head of the Programme Migrateurs at the Musée d'Art Moderne de la Ville de Paris has an unstoppable wanderlust and a related symptom: his penchant for interviewing anyone and everyone who piques his curiosity, be they artist, scientist, writer, curator, composer, architect, thinker, etc. Since 1993, Obrist has conducted more than 300 interviews, 75 of which are collected here in a selection that respects the cultural and professional diversity of the interviewees. Each interview is introduced by a short text outlining the biography of the interviewee and giving some contextual information on the recording of the interview.

Cedric Price has claimed that cooking is a good metaphor for architecture, where design ideas can be developed, constructed-and given accurate user feddback-within a single sitting. Now, Price has collected some of his finest architectural recipes in the first publication on his work for almost 20 years. One of Britain's most influential architectural thinkers, Price has inspired many generations of architects. Among his realised projects are the Interaction Trust Community Centre, London, the Olympic Information Complex for the Munich Olympic Village, and an aviary for London Zoo, designed with Lord Snowdon and Frank Newby in 1961. Price's reputation and influence rest equally, however, on the radicalism of his ides. He argues against the production of permanent, specific spaces for particular functions and seeks to analyse the motivations that might give rise to a structure in the first place. "Technology is the answer," he has said, "buy what was the question?" Re: CP contains a selection of Price's inimitable writings and drawings, as well as contributions form Arata Isozaki, Patrick Keiller and Hans Ulrich Obrist. It will be published with a Sell-By date of 28 February 2004, after the architect wishes it to be known that he may have changed his mind.

Luchita Hurtado. Hans Ulrich Obrist(Conversation with). Karen Marta Hrsg. Köln, Walther König, 2020. 231;170mm. 283S. Zahlr. Abb., z-T. farb. Or.-Papbd. Text Engl. Hauser & Wirth Publishers. "Prior to the late 2000`s, the remarkable breadth of Hurtado's (born Venezuela 1920-2020) eight-decade career was virtually unknown, as her works were kept in storage and out of public view for most of her life. "Luchita Hurtado: I Live I Die I Will Be Reborn", London 2019, introduce museum audiences to several distinct bodies of work, including Hurtado's early forays into abstraction, her consistent use of the body as a subject, her experiments with language, and her recent engagement with issues of environment and ecology.In the final years of her life, Luchita Hurtado( engaged in a series of interviews with Hans Ulrich Obrist. Gathered in this book alongside an extensive collection of never-before-seen archival material. These intimate conversations create an enduring portrait of the artist. Tracing her biography from its beginnings in Venezuela to New York, Mexico, and finally to California and New Mexico"

It is not an exaggeration to write that Hans Ulrich Obrist is everywhere, has curated everything and has interviewed everyone. If "peripatetic" is the word most overused to describe him, it is not inappropriate. The Swiss-born, everywhere-based curator and head of the Programme Migrateurs at the Musée d'Art Moderne de la Ville de Paris has an unstoppable wanderlust and a related symptom: his penchant for interviewing anyone and everyone who piques his curiosity, be they artist, scientist, writer, curator, composer, architect, thinker, etc. Since 1993, Obrist has conducted more than 300 interviews, 75 of which are collected here in a selection that respects the cultural and professional diversity of the interviewees. Each interview is introduced by a short text outlining the biography of the interviewee and giving some contextual information on the recording of the interview.

M : 96 Seiten, 134 farbige Abbildungen 17 x 23 cm - Dieses Buch präsentiert eine Auswahl von Hasslers fast ausschliesslich in Schwarz-Weiss gemachten Aufnahmen, mehrheitlich mit einzelnen Skulpturen Josephsohns als Motiv. In seiner Einführung beschreibt Ulrich Meinherz das Auffinden von Hasslers Fotografien in Josephsohns Atelier ein Jahr nach dessen Tod. Nina Keel erläutert, in welcher Beziehung Hasslers Fotografien und Josephsons Skulpturen zueinander stehen.

Considering a range of present-day phenomena, from the immediacy effects of literature to the impact of hypercommunication, globalization, and sports, Hans Ulrich Gumbrecht notes an important shift in our relationship to history and the passage of time. Although we continue to use concepts inherited from a "historicist" viewpoint, a notion of time articulated in the eighteenth and nineteenth centuries, the actual construction of time in which we live in today, which shapes our perceptions, experiences, and actions, is no longer historicist. Without fully realizing it, we now inhabit a new, unnamed space in which the "closed future" and "ever-available past" (a past we have not managed to leave behind) converge to produce an "ever-broadening present of simultaneities." This profound change to a key dimension of our existence has complex consequences for the way in which we think about ourselves and our relation to the material world. At the same time, the ubiquity of digital media has eliminated our tactile sense of physical space, altering our perception of our world. Gumbrecht draws on his mastery of the philosophy of language to enrich his everyday observations, traveling to Disneyland, a small town in Louisiana, and the center of Vienna to produce striking sketches of our broad presence in the world.

What are the various atmospheres or moods that the reading of literary works can trigger? Hans Ulrich Gumbrecht has long argued that the function of literature is not so much to describe, or to re-present, as to make present. Here, he goes one step further, exploring the substance and reality of language as a material component of the world―impalpable hints, tones, and airs that, as much as they may be elusive, are no less matters of actual fact. Reading, we discover, is an experiencing of specific moods and atmospheres, or Stimmung. These moods are on a continuum akin to a musical scale. They present themselves as nuances that challenge our powers of discernment and description, as well as language's potential to capture them. Perhaps the best we can do is to point in their direction. Conveying personal encounters with poetry, song, painting, and the novel, this book thus gestures toward the intangible and in the process, constitutes a bold defense of the subjective experience of the arts.

Book by Gumbrecht, Hans Ulrich