Serpentine Gallery: working at home

The last three editorials have dealt with a charity called the Serpentine

​ Gallery. We’ve observed limousines lined up outside signifying whose interests the gallery really serves. We

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have identified overmanning and
fat cat pay increases for two directors. And, last time, we highlighted an outside PR agency working between press and gallery in order to disarm justified criticism.

Apologies for boring you further, but there’s more. I’m not satisfied

we’ve got google_ad_client = "ca-pub-3967079123942817"; to the bottom of Hans Ulrich
Obrist’s presence at the Serpentine. He is, after google_ad_height = 90; all, a second highly overpaid director in a publicly funded gallery whose peer
organisations employ //--> only one director for a quarter of the cost of Obrist and Peyton-Jones combined. I question the need for the supernumerary Obrist.

When I asked the gallery how many days Obrist spent there in

recall from a recent
editorial that Obrist enjoyed an almost 50%

pay increase

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to between £130,000 and £140,000 a year, putting him on

this is just another sideline.

This spring he is also curating Luma Arles, a huge enterprise lasting seven months;

Process Overview:

but this is nothing unusual because he appears to have done it every year since
2008. The Luma

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Foundation, to which Obrist
seems closely attached – both are
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based in /* xin2 */ Zurich – also supports

two directors have had