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

29.01.2021 20:00

Opening tentoonstelling, paviljoen KHG#03

Pay what you can

Aline Bouvy:
As Sirens Rise and Fall

Glorie en verval van de sirenen

Een installatie van Aline Bouvy in samenwerking met Pierre Dozin en Julien Bouille

Het politielogo uitdagen
Het voorhoofd deppen met wonderolie
Het spinnenweb weven
Bang zijn voor je getal
Jezelf bloot in de yoghurt rollen
Een hut bouwen met kussens
Parterre – down-to-earth detox

- Emeline Depas

We kunnen ons afvragen waarom er zo weinig symfonieën geschreven zijn in fis klein. Zou het komen door de zwaarmoedige klank, de spookachtige zeggingskracht van die toonsoort, de obscure verbittering maar tevens intense hartstocht die erin doorklinken? Het klaaglijke, onweerstaanbare gezang van de sirenen, verleidsters die een uitbeelding vormen van de voedende zee en tegelijk van de verwoestende oceaan, moeten we ons waarschijnlijk in fis klein voorstellen. Al zou het dan wel hoorbaar moeten zijn onder water, net als het toestel dat in 1820 werd uitgevonden door ingenieur Charles Cagniard de Latour, de sirene genoemd, en dat in staat is tonen voort te brengen van zeer hoge sterkte met uiteenlopende frequenties: een modulerende, stijgende en dalende toon. Nu dat geluidssignaal wijd en zijd de rol heeft gekregen om te waarschuwen voor gevaar, is het op wereldschaal gecodificeerd.

Een eigen stem wordt toegekend aan vier identieke, telegeleide wagens. Het zijn voertuigen-annex-instrumenten; hun overwegend in fis klein gecomponeerde gezang, en hun interactie als duo, trio of kwartet, hangen af van de personen die ze besturen. Er zijn eindeloze combinatiemogelijkheden, die ontstaan en zich ontwikkelen al naargelang de manier waarop de voertuigen worden geleid.

De controle wordt gesimuleerd door middel van de afstandsbediening en het stuur. De arena is vrij, er zijn geen wegwijzers, alleen de muren van de ruimte dienen als begrenzing.


Tekst Aline Bouvy
Vertaling RH