![]() By his count, he has made roughly two thousand trips in the past twenty years, and while in London I discovered that he had been away fifty of the previous fifty-two weekends. But on weekends Obrist becomes who he truly is: a traveller. When I visited him in London in late August, two exhibitions that he had organized were up: “512 hours,” a “durational performance” piece by Marina Abramović, and a show of computer-generated video art by Ed Atkins. On weekdays, he works at the Serpentine offices there are meetings over budgets and fund-raising, and Obrist, with his fellow-director, Julia Peyton-Jones, selects artists to exhibit and helps them shape their shows. A few years ago, ArtReview named him the most powerful figure in the field, but Obrist, a forty-six-year-old Swiss, seems less to stand atop the art world than to race around, up, over, and through it. Hans Ulrich Obrist is a curator at the Serpentine, a gallery in London’s Kensington Gardens that was once a teahouse and is now firmly established as a center for contemporary art. Hans Ulrich Obrist has conducted twenty-four hundred hours of interviews with creative people: “salons of the twenty-first century.” Photograph by Roe Ethridge
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