By Sarah Morris, Hans Ulrich Obrist (auth.)
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Additional resources for An Open System Meets an Open System: Sarah Morris and Hans Ulrich Obrist in Conversation
The idea of going to a city-and you have to remember it was like 1937-to start acting out your fantasy dreamscape of building all of these things, that is amazing to me ... and also this power that's obviously slightly masked in doing so, but he really had a playground in Chicago which he knew he would 48 Sarah Morris with Hans Ulrich Obrist never have in Boston. You could never do that type of thing in Boston. He had been invited to interview at Harvard and I think he thought that was crap. He thought that Chicago was a much more open landscape for actually building this image that he had already drawn in the '20s.
The neon noir blur of the city lights; the warmth of the ambient heat held in the city's concrete; the wind in my hair as her convertible weaved through traffic. I threw up the Chinese take-out I had eaten earlier while waiting for the meeting -- 10 mein scattered on the asphalt like a detail from a Basquiat I had seen once at Marco Brambilla's loft. She told me not to write anything down, or she'd have to "dispatch" me, but during that nauseous drive she explained everything. Her name was Crease, or at least that's what people in her line of work knew her as, and she was under a thousand-year contract to the Parallax Corporation, whose primary concern was decoding internal and external systems.
However, it was on the latter of the two premises, you see, that I agreed to write about my experiences with the person you know to be called Sarah Morris the artist, but to whom I was first introduced eight years ago as Crease, a contract assassin for the Parallax Corporation. Let me explain: I received the call to participate in this book from the Curator, who first introduced me to Crease, and who goes by the dubious alias of Hans Ulrich Obrist, a Swiss curator. Of course, the Curator isn't really a curator, nor is he Swiss.