July 4, 2006 - Sternberg Press - …dontstopdontstopdontstopdontstop by Hans Ulrich Obrist
July 4, 2006

…dontstopdontstopdontstopdontstop by Hans Ulrich Obrist

Cover image: Gerhard Richter 15. April 1995

New Publication from Sternberg Press
…dontstopdontstopdontstopdontstop
by Hans Ulrich Obrist

Published by Sternberg Press,
New York/Berlin
Preface by Rem Koolhaas,
afterword by Daniel Birnbaum,
title by Douglas Gordon
128 pp., hardcover with dust jacket, ISBN 1-933128-06-2
Design: M/M (Paris)

www.sternberg-press.com

If art takes place in a contemporary art museum (where we expect it), what does it mean? Art should not be about filling spaces, but about necessities and urgencies. Such are the principles conveyed by the visionary Hans Ulrich Obrist, seeking out ways to reinvent and invent museums of the 21st century. Newly edited by April Lamm, gathered together here are the seminal texts written by (what Douglas Gordon once aptly described) a dontstop curator. His exhibitions present, as Rem Koolhaas writes in his preface to these prefaces, a heroic effort to preserve the traces of intelligence of the last 50 years, to make sense of the seemingly disjointed, a hedge against the systematic forgetting that is hidden at the core of the information age and which may, in fact, be its secret agenda.

A compendium of texts written between 1990 and 2006, here are exhibition case studies Hotel Carlton Palace, Cities on the Move, Do It, Utopia Station involving some of the more thought-provoking artists, architects, and scientists of our time such as Paul Chan, Alexander Dorner, Olafur Eliasson, Cao Fei, Hans-Peter Feldmann, Peter Fischli & David Weiss, Douglas Gordon, Pierre Huyghe, Qingyung Ma, Philippe Parreno, Cedric Price, Luc Steels, Rirkrit Tiravanija, among others, from Zurich to Guangzhou and back again. Designed by M/M (Paris), the cover depicts an original Gerhard Richter over-painted picture of Obrist himself. A must-have for anyone interested in the unusual strategies of a curator-at-large.
Obrist [] does not delimit or classify artistic geographical fields or spheres of activity. Instead his work revolves around the concept of positioning. Obrist positions himself, that is, his body within the force field of contemporary art, and he does so in order to intercept and modify the scattered materials that make up the sea of dissolves in which the boundaries between the roles are melting away.

Obrist has been working for years [] on the scattered materials of contemporary art. He is working on the existing state of things with the obsessive single-mindedness of one who knows that he cannot help but travel its entire length and breadth and who is waging a utopian struggle and this is indeed a utopia in its pure form against amnesia.

As the ultimate form of body art, mobile positioning is a battle to diminish the enormous, growing, and inevitable distance between (individual) memory and (collective) history.
Stefano Boeri, excerpt from a forthcoming review in domus 894, July/August 2006

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STERNBERG PRESS
Caroline Schneider
1182 Broadway #1602
New York, NY 10001
Linienstraße 159
D-10115 Berlin
mail@sternberg-press.com

www.sternberg-press.com

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