HIGHLIGHTS: Hans Ulrich Obrist

Hi, everybody. Tune in to this short version of the podcast, which we do every Friday. For the long version, tune in on Wednesdays. Hi, everyone, and welcome to In Good Company. I'm Nicolas Tangen, and I am the CEO of the Norwegian Sovereign Wealth Fund. And today, I'm joined by Soby, who I think probably is the world's greatest connector of ideas, people, and art. Hans Ulrich Obris is the artistic director of the Serpentine Galleries in London and widely considered the best art curator in the world. You created, unbelievable amounts of exhibitions. And today, we're going to tease out the business behind your success, creativity, how to connect with people, and what business can learn from all the kind of things you've done. So warm welcome. Thank you. Very nice to see you. What does an art curator actually do? Yeah. I've always, followed this definition the the writer JG Ballard gave me when he didn't really understand what was my profession. So I was describing it to him, and he says, so, basically, what you're doing is you're a junction maker. You create unexpected, connections. And I think that's kind of what is at the core of of my practice. It's, bringing artworks together, bringing people together, creating situations, and, using also the exhibition as a kind of a medium to create experiences. What's the what's the key to create interesting experiences? I mean, I think the first, probably most important, step is to listen. The the poet Etta Latnan said once that we sort of need to learn to listen again. And I think listening to artists is always the beginning. So I would go to studios. It's something I've been doing ever since I'm a teenager. When I was, like, 16, 17, I traveled all over Europe by night train, and I went to see artists from Gerhard Richter to, Rosemary Tockel to Louis Bourgeois, to Annette Messagerie to Fischlweiss. So artists kind of all all over Europe initially and then also, outside Europe and, would just listen to them. And, of course, also kind of find out what they would like to do. So rather than to somehow squeeze the practice into a kind of a framework, it's basically kind of listen what they've maybe not been able to do in the context of, of the art world. So how we can basically change the art world or shift it slightly to make this artist dream become become a reality. So in a way, it's to come back to your initial question about this a curate, I think it's also about enabling, about making things possible. Tell me about the importance of, multisensory exhibitions. What does it do to the visitor? You mean when an exhibition addresses multiple senses? Yeah. Yeah. What happens? How do you think how do you think about it? I mean, how many how many senses do you wanna engage? I mean, my Is more senses better? I I …