I have many intense friendships with artists. I don't mean we have intense one-day conversations but ongoing conversations that last in some cases for years.
My job is art curator, not artist. All I have ever wanted to do is immerse myself in art, to enjoy it, to learn about it, to write about it, to talk to others about it.
Most cities have a centre surrounded by suburbs, but London has numerous centres: it's the model of a twenty-first century metropolis.
Alex Poots has always made a bridge between highly experimental and the mainstream.
Everything I do is somehow connected to velocity.
Exhibitions are kind of ephemeral moments, sometimes magic moments, and when they're gone, they're gone.
Exhibitions usually are not collected; they disperse after they take place.
For me, it's always been very essential to work on projects that one can work on almost for their entire life.
I always have coffee and porridge for breakfast.
I don't wake up in the morning and think about Franz Kline.
I remember going to a monastery library when I was very young and being surrounded by ancient books. I fell in love.
I would go from one city to the next, inspired by the monks in the Middle Ages, who would carry knowledge from one monastery to the next monastery.
In this new age of GPS, Google Earth and multidimensional digital maps, mapping is suddenly hugely relevant again.
It's quite an obscure notion for a kid, no? To want to be a curator. But even then, I knew that I would do this.
Making art is not the matter of a moment, and nor is making an exhibition; curating follows art.
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