Life in Progress
  • Published: 2 October 2025
  • ISBN: 9781802066975
  • Imprint: Penguin eBooks
  • Format: EBook
  • Pages: 160
Categories:

Life in Progress

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World-renowned curator Hans Ulrich Obrist for the first time grants a private view of how a near-death experience in young childhood catapulted him towards art and artists

When Hans Ulrich was six years old, he was knocked down by a speeding car as he was crossing the street. Hospitalized for weeks, a sense of urgency was instilled in him. Enraptured by the healing powers of art from this young age, he began to travel across Europe on night trains, visiting artists' studios.

In a book that is part unputdownable coming-of-age story, part tour de force of the contemporary art world, part user’s manual on how to live a life driven by curiosity, conversation, and not least hope, Obrist takes us through the formative experiences that made him. From his first exhibition in his Zurich kitchen to penning 250 postcards while trapped by an avalanche in Val Bregaglia, Life in Progress is an enchanting ode to the healing properties that engaging with art and the people around us boundlessly affords.
  • Published: 2 October 2025
  • ISBN: 9781802066975
  • Imprint: Penguin eBooks
  • Format: EBook
  • Pages: 160
Categories:

Also by Hans-Ulrich Obrist

Simone Fattal
140 Artists' Ideas for Planet Earth
Lives of the Artists, Lives of the Architects
The Age of Earthquakes
Sharp Tongues, Loose Lips, Open Eyes, Ears to the Ground
Ways of Curating
Ai Weiwei Speaks
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Praise for Life in Progress

Hans Ulrich Obrist manages to underline the value of art, to single it out from other human endeavours as something of paramount importance; to this, he brings an instinctive and profound love, a generosity of spirit (and heart) that he extends also to other fields of human expression

Etel Adnan

He is a passionate communicator. In result, half the world is starting to live in the future now

Yoko Ono

His words come out in an almost comical torrent, citations bobbing up and ideas colliding... ArtReview named him the most powerful figure in the field, but Obrist seems less to stand atop the art world than to race around, up, over, and through it

The New Yorker
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