I founded a club, which is called the Brutally Early Club. It's basically a breakfast salon for the 21st century where art meets science meets architecture meets literature.
I see a curator as a catalyst, generator and motivator - a sparring partner, accompanying the artist while they build a show, and a bridge builder, creating a bridge to the public.
Exhibitions are kind of ephemeral moments, sometimes magic moments, and when they're gone, they're gone.
I started going to exhibitions in Switzerland when I was 10 or 11. As a schoolboy, I would go every afternoon to see the long, thin figures of Giacometti.
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.
At a certain time, an artist needs a big retrospective. At other times, they need a more focused exhibition. It's a different story each time; it's about establishing a dialogue.
To keep art stimulating, it's important to open it up to new horizons, which includes showing it in unexpected contexts.
I spent 250 to 300 days of every year on the road. But in the end, I felt something was missing. I needed to be anchored so I could concentrate, so in 2000, I established a new methodology - the one I use today. I spent the week in my office and travelled every weekend, even at Christmas.
I still remember my first Giacometti exhibition, and going back to the museum every day, whenever I could, to look again and again at these long, thin stick figures, so beautiful, so graceful. That, I think, was the moment I became really obsessed by art.
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.
Making art is not the matter of a moment, and nor is making an exhibition; curating follows art.
I don't wake up in the morning and think about Franz Kline.
In this new age of GPS, Google Earth and multidimensional digital maps, mapping is suddenly hugely relevant again.
There is nothing deeper than to work for a year with the same artist.
My most famous show is the 'Kitchen Show.' More famous than any gallery show or museum show I curated.
I'm very interested in the idea of unusual museums, ones that are not necessarily contemporary art museums - more like historical collections or house museums.
Everything I do is somehow connected to velocity.
I think the art fair is very much a form of urbanism. I think something really happens to the cities when such a fair happens. The city becomes an exhibition; it's amazing.
Many artists have not been able to realise their fondest projects. My role is to help them.
I'm trying to expand the notion of curating. Exhibitions need not only take place in galleries, need not only involve displaying objects. Art can appear where we expect it least.
