#59: Always protect the floor when painting (or pouring concrete)|#90: The best systems have a failure or ‘a hole’ in them…|#4: Pay what you can.|#132: Things will always look weird when you’re the first doing it.|#137: Use the publication as programming space|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#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.|#117: Consider design, organisational structures and architecture as programme.|#119: Be a space of production.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#39: Be the early stepping stone in an artist’s career|#44: No name tags at dinner.|#74: Last one out turns of the lights.|#64: Arrange a distribution of forces.|#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.|#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|#53: Immaterial support for artists is important.|#105: Kunsthal Gent is local in scale, but globally connected.|#98: The success of it will not lie in the result but in the process.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#6: Demand that visitors are active.|#10: Don’t be obsessed with numbers.|#15: Kunsthal Gent aims to be an extension of public space.|#55: Keep basic human needs on the forefront.|#37: Operate with radical transparency.|#111: Do it together.|#54: What about disabled artists?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#62: Don’t be a dick. Full dishwasher: empty it.|#19: Have fun at the exhibition.|#112: Spaces today don’t need to be curated, but occupied.|#2: Bring something new to the city of Ghent.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#40: Follow the artist|#17: An exhibition is never finished.|#35: The artist fee should be good.|#30: Don’t work with artists who are assholes.|#51: How do we invite the true unknown?|#68: Once in a while we need to get out of utopia and get something done.|#36: We support production separately.|#92: We’re a learning organisation.|#56: Take a lunch break.|#65: No excuses: Thursday morning, team meeting.|#81: Things come alive when there is friction.|#20: Are exhibitions the most suitable form for the art that we present?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#14: Can you also remain a toddler institution?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#28: Make Contracts.|#16: Kunsthal Gent will always be a construction site.|#124: Do less, do it better.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#91: Embrace doubt.|#84: The White Cube is a lie.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#89: Build-in impurity within the organisation.|#99: Evolve according to changing needs.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#32: Be pan-gender polyphonic.|#94: No objections? Just do it.|#107: Build a community / scene.|#26: More artists, less borders.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#29: We make the program for the artist that we exhibit.|#82: Clean and sterile looks professional, but really boring.|#21: Live with the exhibition, spend time with it.|#127: Remain practical: what happens to the work in an endless exhibition?|#61: No all male install teams.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#34: We pay artists.|#59: Always protect the floor when painting (or pouring concrete)|#90: The best systems have a failure or ‘a hole’ in them…|#4: Pay what you can.|#132: Things will always look weird when you’re the first doing it.|#137: Use the publication as programming space|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#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.|#117: Consider design, organisational structures and architecture as programme.|#119: Be a space of production.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#39: Be the early stepping stone in an artist’s career|#44: No name tags at dinner.|#74: Last one out turns of the lights.|#64: Arrange a distribution of forces.|#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.|#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|#53: Immaterial support for artists is important.|#105: Kunsthal Gent is local in scale, but globally connected.|#98: The success of it will not lie in the result but in the process.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#6: Demand that visitors are active.|#10: Don’t be obsessed with numbers.|#15: Kunsthal Gent aims to be an extension of public space.|#55: Keep basic human needs on the forefront.|#37: Operate with radical transparency.|#111: Do it together.|#54: What about disabled artists?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#62: Don’t be a dick. Full dishwasher: empty it.|#19: Have fun at the exhibition.|#112: Spaces today don’t need to be curated, but occupied.|#2: Bring something new to the city of Ghent.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#40: Follow the artist|#17: An exhibition is never finished.|#35: The artist fee should be good.|#30: Don’t work with artists who are assholes.|#51: How do we invite the true unknown?|#68: Once in a while we need to get out of utopia and get something done.|#36: We support production separately.|#92: We’re a learning organisation.|#56: Take a lunch break.|#65: No excuses: Thursday morning, team meeting.|#81: Things come alive when there is friction.|#20: Are exhibitions the most suitable form for the art that we present?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#14: Can you also remain a toddler institution?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#28: Make Contracts.|#16: Kunsthal Gent will always be a construction site.|#124: Do less, do it better.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#91: Embrace doubt.|#84: The White Cube is a lie.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#89: Build-in impurity within the organisation.|#99: Evolve according to changing needs.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#32: Be pan-gender polyphonic.|#94: No objections? Just do it.|#107: Build a community / scene.|#26: More artists, less borders.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#29: We make the program for the artist that we exhibit.|#82: Clean and sterile looks professional, but really boring.|#21: Live with the exhibition, spend time with it.|#127: Remain practical: what happens to the work in an endless exhibition?|#61: No all male install teams.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#34: We pay artists.|
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05.03.2021 20:00

screening and public workshop

Pay what you can

SYLLABUS screening:
a toolkit for social reproduction (with Silvia Federici)

SYLLABUS screening: A toolkit for social reproduction (with Silvia Federici)

Screening of the document that was edited after a 6-hour workshop with feminist activist Silvia Federici in October 2020. In collaboration with artists Jesse Jones and Aïlien Reyns and researchers Omar Jabary Salamanca, Julie Carlie, Sigrid Vertommen.

More info to follow soon.