#127: Remain practical: what happens to the work in an endless exhibition?|#112: Spaces today don’t need to be curated, but occupied.|#29: We make the program for the artist that we exhibit.|#30: Don’t work with artists who are assholes.|#117: Consider design, organisational structures and architecture as programme.|#68: Once in a while we need to get out of utopia and get something done.|#105: Kunsthal Gent is local in scale, but globally connected.|#54: What about disabled artists?|#26: More artists, less borders.|#91: Embrace doubt.|#81: Things come alive when there is friction.|#94: No objections? Just do it.|#82: Clean and sterile looks professional, but really boring.|#32: Be pan-gender polyphonic.|#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.|#53: Immaterial support for artists is important.|#37: Operate with radical transparency.|#132: Things will always look weird when you’re the first doing it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#59: Always protect the floor when painting (or pouring concrete)|#6: Demand that visitors are active.|#17: An exhibition is never finished.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#44: No name tags at dinner.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#127: Remain practical: what happens to the work in an endless exhibition?|#112: Spaces today don’t need to be curated, but occupied.|#29: We make the program for the artist that we exhibit.|#30: Don’t work with artists who are assholes.|#117: Consider design, organisational structures and architecture as programme.|#68: Once in a while we need to get out of utopia and get something done.|#105: Kunsthal Gent is local in scale, but globally connected.|#54: What about disabled artists?|#26: More artists, less borders.|#91: Embrace doubt.|#81: Things come alive when there is friction.|#94: No objections? Just do it.|#82: Clean and sterile looks professional, but really boring.|#32: Be pan-gender polyphonic.|#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.|#53: Immaterial support for artists is important.|#37: Operate with radical transparency.|#132: Things will always look weird when you’re the first doing it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#59: Always protect the floor when painting (or pouring concrete)|#6: Demand that visitors are active.|#17: An exhibition is never finished.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#44: No name tags at dinner.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|
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19.02.2019 18:00

by GAFPA, Maarten Van Den Driessche, Aglaia Konrad, Bert Huyghe, PRIMARY STRUCTURE, APE Publication #128

Pay what you can

Book Launch:
APE Publication #128: G1710

G1710 is a book about the work of architecture office GAFPA over the past 10 years. They conceived the book as a project itself. It is a collaboration with some people GAFPA admires from other disciplines.

The book contains contributions by artists Aglaia Konrad and Bert Huyghe, architecture critic Maarten Van Den Driessche, students of the PRIMARY STRUCTURE (https://primarystructure.net) studio and graphic designer Arthur Haegeman.

https://artpapereditions.org
http://www.gafpa.net


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