The artistic director details life at L<text class="_textbox_x434h_15" direction="ltr" height="11.88299560546875" lengthadjust="spacingAndGlyphs" textlength="201.48736572265625" x="761.4677124023438" y="-613.5" data-test="textbox">ondon&rsquo;s&nbsp;</text><text class="_textbox_x434h_15" direction="ltr" height="11.88299560546875" lengthadjust="spacingAndGlyphs" textlength="122.67205810546875" x="962.8521118164062" y="-613.5" data-test="textbox">Serpentine Galleries&mdash;plus, how i</text><text class="_textbox_x434h_15" direction="ltr" height="11.3389892578125" lengthadjust="spacingAndGlyphs" textlength="88.7723388671875" x="697.0309448242188" y="-597.5" data-test="textbox">ncorporating </text><text class="_textbox_x434h_15" direction="ltr" height="11.88299560546875" lengthadjust="spacingAndGlyphs" textlength="61.89190673828125" x="790.1063232421875" y="-597.5" data-test="textbox">revelatory </text><text class="_textbox_x434h_15" direction="ltr" height="11.86602783203125" lengthadjust="spacingAndGlyphs" textlength="82.86138916015625" x="856.576904296875" y="-597.5" data-test="textbox">studio visits, nontraditional materials</text><text class="_textbox_x434h_15" direction="ltr" height="11.86602783203125" lengthadjust="spacingAndGlyphs" textlength="64.718994140625" x="1036.0142822265625" y="-597.5" data-test="textbox">, and AI factors into it all.&nbsp;</text>

<text class="_textbox_x434h_15" direction="ltr" height="7.3399658203125" lengthadjust="spacingAndGlyphs" textlength="247.0849609375" x="672.47998046875" y="-537.5" data-test="textbox">Hans Ulrich Obrist continues to chart new paths in the world of contemporary art at Serpentine, working closely&nbsp;with the CEO of Serpentine, Bettina Korek. Obrist&rsquo;s commitment to pushing artistic boundaries is evident </text><text class="_textbox_x434h_15" direction="ltr" height="7.3399658203125" lengthadjust="spacingAndGlyphs" textlength="247.27685546875" x="672.260009765625" y="-525.5" data-test="textbox">in the projects he commissions for Serpentine&rsquo;s North and </text><text class="_textbox_x434h_15" direction="ltr" height="7.41998291015625" lengthadjust="spacingAndGlyphs" textlength="244.3360595703125" x="672.6500244140625" y="-513.5" data-test="textbox">South Galleries; recent exhibitions have spotlighted Arpita </text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="240.5809326171875" x="672.6500244140625" y="-501.5" data-test="textbox">Singh, an Indian painter known for her intimate portray</text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="244.6041259765625" x="672.4299926757812" y="-489.5" data-test="textbox">als of the female experience, and Italian sculptor Giuseppe </text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="137.45892333984375" x="672.3099975585938" y="-477.5" data-test="textbox">Penone, whose works&mdash;deeply </text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="54.78900146484375" x="672.239990234375" y="-465.5" data-test="textbox">rooted in the Arte Povera movement</text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="134.873046875" x="672.3599853515625" y="-453.5" data-test="textbox">, which prioritizes natural </text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="137.4169921875" x="672.3599853515625" y="-441.5" data-test="textbox">materials&mdash;encourage viewers to </text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="134.98199462890625" x="672.239990234375" y="-429.5" data-test="textbox">reflect on their relationship with </text><text class="_textbox_x434h_15" direction="ltr" height="7.470001220703125" lengthadjust="spacingAndGlyphs" textlength="130.7130126953125" x="672.3900146484375" y="-417.5" data-test="textbox">nature. (This year&rsquo;s garden canopy</text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="137.427001953125" x="672.3499755859375" y="-405.5" data-test="textbox">&ndash;inspired Serpentine pavilion, </text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="134.864990234375" x="672.3699951171875" y="-393.5" data-test="textbox">designed by architect Marina </text><text class="_textbox_x434h_15" direction="ltr" height="7.44000244140625" lengthadjust="spacingAndGlyphs" textlength="135.32000732421875" x="671.9199829101562" y="-381.5" data-test="textbox">Tabassum, invites visitors to do </text><text class="_textbox_x434h_15" direction="ltr" height="7.470001220703125" lengthadjust="spacingAndGlyphs" textlength="127.95001220703125" x="672.22998046875" y="-369.5" data-test="textbox">the same, through October 26.)</text>
<text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="134.7490234375" x="672.47998046875" y="-345.5" data-test="textbox">Groundbreaking immersive </text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="135.09393310546875" x="672.1400146484375" y="-333.5" data-test="textbox">projects from two pioneering </text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="134.9229736328125" x="672.3099975585938" y="-321.5" data-test="textbox">British artists are also on display </text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="134.8380126953125" x="672.3900146484375" y="-309.5" data-test="textbox">now until early 2026: Danielle </text><text class="_textbox_x434h_15" direction="ltr" height="7.30999755859375" lengthadjust="spacingAndGlyphs" textlength="84.68798828125" x="672.3099975585938" y="-297.5" data-test="textbox">Brathwaite-Shirley&rsquo;s The Delusion</text><text class="_textbox_x434h_15" direction="ltr" height="6.8900146484375" lengthadjust="spacingAndGlyphs" textlength="48.4830322265625" x="758.4412841796875" y="-297.5" data-test="textbox">&nbsp;</text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="134.866943359375" x="672.3699951171875" y="-285.5" data-test="textbox">explores the real-world impacts </text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="130.883056640625" x="672.3499755859375" y="-273.5" data-test="textbox">of societal division with a multi</text><text class="_textbox_x434h_15" direction="ltr" height="2.94000244140625" lengthadjust="spacingAndGlyphs" textlength="3" x="803.7135009765625" y="-273.5" data-test="textbox">-</text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="135.1099853515625" x="672.1400146484375" y="-261.5" data-test="textbox">player video game experience set </text><text class="_textbox_x434h_15" direction="ltr" height="7.230010986328125" lengthadjust="spacingAndGlyphs" textlength="134.9759521484375" x="672.260009765625" y="-249.5" data-test="textbox">in a post-apocalyptic world, while </text><text class="_textbox_x434h_15" direction="ltr" height="7.3100128173828125" lengthadjust="spacingAndGlyphs" textlength="51.2249755859375" x="672.3099975585938" y="-237.5" data-test="textbox">Peter Doig&rsquo;s House of Music</text><text class="_textbox_x434h_15" direction="ltr" height="6.850006103515625" lengthadjust="spacingAndGlyphs" textlength="57.2750244140625" x="723.2326049804688" y="-237.5" data-test="textbox">&nbsp;</text><text class="_textbox_x434h_15" direction="ltr" height="7.2299957275390625" lengthadjust="spacingAndGlyphs" textlength="134.3079833984375" x="782.6771240234375" y="-237.5" data-test="textbox">presents his paintings with sound </text><text class="_textbox_x434h_15" direction="ltr" height="7.2299957275390625" lengthadjust="spacingAndGlyphs" textlength="240.8939208984375" x="672.25" y="-225.5" data-test="textbox">for the first time, transforming the gallery into a contempla</text><text class="_textbox_x434h_15" direction="ltr" height="7.2299957275390625" lengthadjust="spacingAndGlyphs" textlength="244.739990234375" x="672.22998046875" y="-213.5" data-test="textbox">tive multi-sensory space with a sculptural installation of rare, </text><text class="_textbox_x434h_15" direction="ltr" height="7.2299957275390625" lengthadjust="spacingAndGlyphs" textlength="244.74505615234375" x="672.239990234375" y="-201.5" data-test="textbox">restored speakers. Meanwhile, Obrist continues to conduct </text><text class="_textbox_x434h_15" direction="ltr" height="7.2299957275390625" lengthadjust="spacingAndGlyphs" textlength="240.988037109375" x="672.239990234375" y="-189.5" data-test="textbox">regular studio visits with largely unknown talents, discov</text><text class="_textbox_x434h_15" direction="ltr" height="7.2299957275390625" lengthadjust="spacingAndGlyphs" textlength="187.90496826171875" x="672.3699951171875" y="-177.5" data-test="textbox">ering new voices day after day.</text>
<text class="_textbox_x434h_15" direction="ltr" height="7.2299957275390625" lengthadjust="spacingAndGlyphs" textlength="187.90496826171875" x="672.3699951171875" y="-177.5" data-test="textbox"> He opens up to L'OFFICIEL</text><text class="_textbox_x434h_15" direction="ltr" height="6.850006103515625" lengthadjust="spacingAndGlyphs" textlength="53.96099853515625" x="862.8795166015625" y="-177.5" data-test="textbox">&nbsp;</text><text class="_textbox_x434h_15" direction="ltr" height="7.2299957275390625" lengthadjust="spacingAndGlyphs" textlength="244.55108642578125" x="672.4299926757812" y="-165.5" data-test="textbox">about those intimate encounters&mdash;true creative t&ecirc;te-&agrave;-t&ecirc;tes&mdash;</text><text class="_textbox_x434h_15" direction="ltr" height="7.2299957275390625" lengthadjust="spacingAndGlyphs" textlength="244.73699951171875" x="672.22998046875" y="-153.5" data-test="textbox">that serve as a launchpad for the next generation of artists, </text><text class="_textbox_x434h_15" direction="ltr" height="7.4199981689453125" lengthadjust="spacingAndGlyphs" textlength="240.55792236328125" x="672.4299926757812" y="-141.5" data-test="textbox">and shares his views on experimenting with AI and embrac</text><text class="_textbox_x434h_15" direction="ltr" height="7.2299957275390625" lengthadjust="spacingAndGlyphs" textlength="93.39398193359375" x="672.260009765625" y="-129.5" data-test="textbox">ing nature through art.</text>

Portrait of Hans Ulrich Obrist. Photography by Elias Hassos, courtesy of Serpentine Galleries.

L&rsquo;OFFICIEL: Serpentine's recent exhibition on Giuseppe Penone highlighted the Arte Povera movement. When were you first introduced to the concept of using nontraditional, everyday materials in art?
Hans Ulrich Obrist: I met most of the protagonists of the Arte Povera movement when I was a student, in the late 1980s. I visited the studios of Alighiero Boetti, Michelangelo Pistoletto, Giovanni Anselmo, Mario Merz, Marisa Merz, Gilberto Zorio, and Emilio Prini. Giuseppe Penone was also one of my first encounters; I was always fascinated by the fact that he often used organic materials and was deeply connected to the environment. The idea of being in communion with nature has always been a distinctive trait of Penone. He was the one who emphasized the theme by questioning consumerism. His strong attachment to the environment, particularly through his works with trees, was undoubtedly a distinctive approach. Moreover, within the context of Arte Povera, he was one of the youngest members of the movement, being at least ten years younger than most of the other protagonists. His work has always been a significant source of inspiration and a symbolic bridge between man and environment.

”Ideas of Stone” by Giuseppe Penone, 2010–2024, bronze and river stones. Photography by George Darrell, courtesy of Serpentine Galleries.

L&rsquo;O: What role does nature play at Serpentine, given the galleries&rsquo; location in Hyde Park?
HUO: The fact that Serpentine is situated in the heart of such a prestigious park in the city has always influenced our modus operandi. We frequently explore the connection between the interiors of the galleries and the exteriors we have available through sculptural installations immersed in nature, and exhibitions that extend beyond the main spaces of our structures. For example, Tom&aacute;s Saraceno brought birds and animals of various kinds into the galleries, blurring the boundaries between architecture and nature. Trisha Donnelly&rsquo;s exhibition also played with this idea, so much so that visitors could enter from the park instead of the main entrance. However, we had never had an exhibition where the same artist simultaneously created sculptures in different locations throughout the park, thereby integrating the park itself into our interior spaces. Tom&aacute;s Saraceno contributed this dialogue between man and nature by bringing in bird houses and outdoor public sculptures. With Penone, we pushed our boundaries even further, with several sculptures of considerable dimensions positioned throughout the park

An exhibition at Serpentine Galleries. Courtesy of Serpentine Galleries.

Serpentine Pavilion 2025  “A Capsule in Time” designed by Marina Tabassum, Marina Tabassum Architects (MTA), photography by Iwan Baan, courtesy of Serpentine Galleries.

L&rsquo;O: How is research and experimentation with AI progressing at Serpentine? What role do you think it could play in the future of contemporary art?
HUO: AI has always been a central theme for Serpentine, particularly last year, with two exhibitions by Holly Herndon and Mat Dryhurst exploring AI-generated choirs and sounds, and Refik Anadol delving into the impact of AI on visual culture. Therefore, our moral and technical engagement with AI is certainly not new; it has been an integral part of the Serpentine program for over 10 years, with numerous exhibitions by international artists like C&eacute;cile B. Evans, Ian Cheng, Hito Steyerl, and Pierre Huyghe. AI also recently played a key role in Alexandra Daisy Ginsberg&rsquo;s &ldquo;Pollinator Pathmaker,&rdquo; a work of art that aims to transform the concept of garden by designing it from the perspective of pollinators such as bees, butterflies, and other insects, rather than according to human preferences. This was one of the largest outdoor projects we&rsquo;ve undertaken, using AI as a partner in its creation. We want our AI research to prove useful to other institutions as well, to have an even greater impact beyond Serpentine.
L&rsquo;O: Your studio visits are legendary, and they bring visibility to artists who haven&rsquo;t had an opportunity to exhibit their works for an international audience. How do you manage to discover talent in even the most hidden corners of the world?
HUO:&nbsp;Studio visits are an almost daily practice for me. Just recently I shared an extraordinary encounter on Instagram with Eunnam Hong, a young Korean painter who has developed an impressive body of work over the last decade. Artists often introduce me to the work of their peers and emerging talents they know, and I remember hearing about Eunnam Hong for the first time three years ago from Jamian Juliano-Villani, a well-known painter in New York. Curators, scholars, and galleries also provide valuable suggestions. It&rsquo;s always curiosity that guides me. It&rsquo;s important to research young artists, but also to re-explore the pioneering figures of previous generations. We live in an age of information overload, but that doesn&rsquo;t necessarily mean we have more memory. Amnesia, in fact, is a defining characteristic of the digital age, so we should, as Eric Hobsbawm said, protest against oblivion. That&rsquo;s why I frequently visit studios of artists from past generations who deserve greater recognition. A fitting example is our retrospective on Arpita Singh, an extraordinary Indian artist from the 1980s. Although she is well known in India, her work is not widely recognized internationally. We were thrilled to exhibit her work outside India for the first time.

“Remembering” by Arpita Singh, at Serpentine North, photography by Jo Underhill, courtesy of Serpentine Galleries.

L&rsquo;O: At the end of a studio visit, you&rsquo;re known to share a video of each artist signing a Post-It note with a handwritten statement, or even a drawing, related to the concepts of life or art. How did that ritual begin?
HUO:&nbsp;The idea stems from a conversation I had many years ago with Umberto Eco, who lamented the decline of handwriting. Initially, I didn&rsquo;t know how to address this problem, but a stroke of luck later provided me with the solution. During a studio meeting with Simone Fattal and Etel Adnan in Brittany, accompanied by Koo Jeong A, a sudden storm forced us to stay inside for hours. Etel, who was not used to using smartphones, pulled out a notebook and wrote a beautiful phrase by hand. It was then that I realized I could invite artists to write a sentence every day as a ritual, thus meaningfully and tangibly realizing Eco&rsquo;s suggestion.
L&rsquo;O: How does a typical studio visit unfold, from first connecting with an artist to meeting them in their workspace?
HUO:&nbsp;Once I hear about a new artist, I examine their work and, if it&rsquo;s compelling, I try to contact them through Instagram. These situations often lead to discussions about the artist&rsquo;s unrealized ideas or projects. I&rsquo;m less interested in linear and predictable career trajectories; I&rsquo;m more intrigued by how artists build on their past to shape their future. I ask them if they have artists they compare themselves to: contemporary colleagues or more iconic historical figures. Time is always a fascinating aspect of the art world.

”Burning Desire for Hope” by Danielle Brathwaite-Shirley, 2025. Courtesy of Serpentine Galleries.

“Maracas” by Peter Doig, 2002–2008, oil on canvas. Courtesy of Serpentine Galleries.

L&rsquo;O: For an institution like Serpentine, what value do you place on the concepts of evolution and growth?
HUO:&nbsp;Exhibitions always work when understood as living organisms. Artists today are interested in both digital and physical art, exploring exhibitions as dynamic and perpetually evolving entities. This is evident in many of our exhibitions and in the solo projects of Holly Herndon, Mat Dryhurst, and Refik Anadol, where AI-generated works evolve without a true final stage. Even analog exhibitions reflect this approach, with artists focusing on gardens, parks, and medium-to-long-term exhibition formats. More generally, institutions like the Serpentine function as living organisms, shaped by the artists they interact with year after year. Each exhibition is the result of an intense, long-term dialogue with the artist. Our space is entirely dedicated to one artist at a time, allowing them to transform the building into their natural habitat. This process often leaves a lasting impact on the spirit of our facility. A notable example is Gustav Metzger, who began working with us in 2006 and first showed his vision to the public in 2009. Metzger encouraged us to prioritize ecology, directing our gaze toward initiatives like the Extinction Marathon and the Remember Nature project. His influence has lasted almost a decade, demonstrating precisely how ingrained an artist can become in the DNA of an institution. This principle applies to many of the artists we work with&mdash;it&rsquo;s a continuous cycle of transformation and learning. Ultimately, exhibitions shouldn&rsquo;t exist solely within pre-established parameters; they should challenge and redefine them

Inside Hans Ulrich Obrist's Approach To London's Iconic Serpentine Galleries

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