#137: Use the publication as programming space|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#35: The artist fee should be good.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#26: More artists, less borders.|#19: Have fun at the exhibition.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#56: Take a lunch break.|#98: The success of it will not lie in the result but in the process.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#61: No all male install teams.|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#105: Kunsthal Gent is local in scale, but globally connected.|#94: No objections? Just do it.|#90: The best systems have a failure or ‘a hole’ in them…|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#111: Do it together.|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#132: Things will always look weird when you’re the first doing it.|#40: Follow the artist|#39: Be the early stepping stone in an artist’s career|#17: An exhibition is never finished.|#62: Don’t be a dick. Full dishwasher: empty it.|#127: Remain practical: what happens to the work in an endless exhibition?|#53: Immaterial support for artists is important.|#65: No excuses: Thursday morning, team meeting.|#117: Consider design, organisational structures and architecture as programme.|#4: Pay what you can.|#34: We pay artists.|#36: We support production separately.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#64: Arrange a distribution of forces.|#2: Bring something new to the city of Ghent.|#55: Keep basic human needs on the forefront.|#37: Operate with radical transparency.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#54: What about disabled artists?|#32: Be pan-gender polyphonic.|#107: Build a community / scene.|#14: Can you also remain a toddler institution?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#59: Always protect the floor when painting (or pouring concrete)|#16: Kunsthal Gent will always be a construction site.|#29: We make the program for the artist that we exhibit.|#21: Live with the exhibition, spend time with it.|#124: Do less, do it better.|#15: Kunsthal Gent aims to be an extension of public space.|#84: The White Cube is a lie.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#30: Don’t work with artists who are assholes.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#119: Be a space of production.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#68: Once in a while we need to get out of utopia and get something done.|#81: Things come alive when there is friction.|#82: Clean and sterile looks professional, but really boring.|#92: We’re a learning organisation.|#10: Don’t be obsessed with numbers.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#44: No name tags at dinner.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#6: Demand that visitors are active.|#112: Spaces today don’t need to be curated, but occupied.|#51: How do we invite the true unknown?|#28: Make Contracts.|#91: Embrace doubt.|#20: Are exhibitions the most suitable form for the art that we present?|#99: Evolve according to changing needs.|#137: Use the publication as programming space|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#35: The artist fee should be good.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#26: More artists, less borders.|#19: Have fun at the exhibition.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#56: Take a lunch break.|#98: The success of it will not lie in the result but in the process.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#61: No all male install teams.|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#105: Kunsthal Gent is local in scale, but globally connected.|#94: No objections? Just do it.|#90: The best systems have a failure or ‘a hole’ in them…|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#111: Do it together.|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#132: Things will always look weird when you’re the first doing it.|#40: Follow the artist|#39: Be the early stepping stone in an artist’s career|#17: An exhibition is never finished.|#62: Don’t be a dick. Full dishwasher: empty it.|#127: Remain practical: what happens to the work in an endless exhibition?|#53: Immaterial support for artists is important.|#65: No excuses: Thursday morning, team meeting.|#117: Consider design, organisational structures and architecture as programme.|#4: Pay what you can.|#34: We pay artists.|#36: We support production separately.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#64: Arrange a distribution of forces.|#2: Bring something new to the city of Ghent.|#55: Keep basic human needs on the forefront.|#37: Operate with radical transparency.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#54: What about disabled artists?|#32: Be pan-gender polyphonic.|#107: Build a community / scene.|#14: Can you also remain a toddler institution?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#59: Always protect the floor when painting (or pouring concrete)|#16: Kunsthal Gent will always be a construction site.|#29: We make the program for the artist that we exhibit.|#21: Live with the exhibition, spend time with it.|#124: Do less, do it better.|#15: Kunsthal Gent aims to be an extension of public space.|#84: The White Cube is a lie.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#30: Don’t work with artists who are assholes.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#119: Be a space of production.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#68: Once in a while we need to get out of utopia and get something done.|#81: Things come alive when there is friction.|#82: Clean and sterile looks professional, but really boring.|#92: We’re a learning organisation.|#10: Don’t be obsessed with numbers.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#44: No name tags at dinner.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#6: Demand that visitors are active.|#112: Spaces today don’t need to be curated, but occupied.|#51: How do we invite the true unknown?|#28: Make Contracts.|#91: Embrace doubt.|#20: Are exhibitions the most suitable form for the art that we present?|#99: Evolve according to changing needs.|
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13.09.20

Evenement

Open Monumentendag 2020:
15e eeuwse muurschildering en hedendaagse wandtapijten

Tijdens de Open Monumentendag 2020 kunt u de 15e eeuwse muurschildering in het Oud Huis van Kunsthal Gent bezoeken. Het is ook de laatste dag van de tentoonstelling Gilding the Lily, met wandtapijten van Les Monseigneurs (Gent.)

15e eeuwse muurschildering
Bij de ontmanteling van een muur in het Oud Huis zijn tijdens de renovatie van het Caermersklooster in de jaren negentig tot ieders verrassing onder het behang niet één maar twee muurschilderingen gevonden. Het eerste en meest recente werk dat gevonden werd, was een grote 19de-eeuwse muurschildering in neorenaissancestijl. Onder die muurschildering bleek nog een oudere wandschildering te zitten: een zeer beschadigde calvariegroep uit de 15de eeuw met Christus aan het kruis, geflankeerd door Maria en de apostel Johannes. De schildering is van de hand van een onbekende meester en is hardhandig bewerkt met een bijl of hakmes. In afwachting van verdere renovatie toont de wand in het Oud Huis met zijn verschillende lagen van muurschilderingen en behangpapier de sporen van de geschiedenis, van de 15e eeuw tot vandaag. De muurschildering is een complex kunstwerk dat op zijn geheel eigen manier aansluit bij de tentoonstellingen in Kunsthal Gent.

Les Monseigneurs - Gilding The Lily - laatste kans!
Het Oud Huis van Kunsthal Gent biedt een refuge aan een triptiek van wandtapijten door de Gentse Les Monseigneurs. Het werk werd speciaal gemaakt voor de San Celso Basiliek in Milaan ter gelegenheid van de jaarlijkse designbeurs Salone del Mobile 2020, maar kon daar niet getoond worden ten gevolge van Covid-19. De drie impressionante wandtapijten zijn nu tijdens de zomermaanden in Gent te zien.

1,70 m x 3,5 m (per stuk); katoen, papier, linnen, 2020.
Geweven in samenwerking met TextielMuseum Tilburg

MDC KH fresco 001 LR

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