When I say art influences me, which it does, it's not at all in a literal form. You go and see exhibitions or collections or meet an artist. It's all a compilation. Every moment, at all times, all this information. Then all this information disappears, and it shows up later in the process.
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'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.
One of my favourite exhibitions is called 'Do It,' which I co-curated with the artists Christian Boltanski and Bertrand Lavier 21 years ago.
When I was 17, I met many artists, and it started to become this conversation with artists out of which all of my exhibitions grew.
Exhibitions usually are not collected; they disperse after they take place.
For me, the making of exhibitions has always had to do with dialogue: a concentrated, in-depth, focused dialogue with artists, who keep teaching me that exhibitions should always invent new rules for the game.
Being a part of exhibitions is not a burden; it's another way for an independent label such as mine to reach a larger audience by exposing them to my whole body of work.
Many people will say, well, clothes should be worn; but I think people can look at them in public, like seeing a film. I think museum exhibitions are very important.
