#131: A visitor who comes back after a week might discover new additions to the exhibition.|#89: Build-in impurity within the organisation.|#32: Be pan-gender polyphonic.|#65: No excuses: Thursday morning, team meeting.|#56: Take a lunch break.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#19: Have fun at the exhibition.|#6: Demand that visitors are active.|#37: Operate with radical transparency.|#74: Last one out turns of the lights.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#55: Keep basic human needs on the forefront.|#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.|#61: No all male install teams.|#53: Immaterial support for artists is important.|#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.|#29: We make the program for the artist that we exhibit.|#99: Evolve according to changing needs.|#117: Consider design, organisational structures and architecture as programme.|#51: How do we invite the true unknown?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#4: Pay what you can.|#30: Don’t work with artists who are assholes.|#94: No objections? Just do it.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#89: Build-in impurity within the organisation.|#32: Be pan-gender polyphonic.|#65: No excuses: Thursday morning, team meeting.|#56: Take a lunch break.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#19: Have fun at the exhibition.|#6: Demand that visitors are active.|#37: Operate with radical transparency.|#74: Last one out turns of the lights.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#55: Keep basic human needs on the forefront.|#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.|#61: No all male install teams.|#53: Immaterial support for artists is important.|#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.|#29: We make the program for the artist that we exhibit.|#99: Evolve according to changing needs.|#117: Consider design, organisational structures and architecture as programme.|#51: How do we invite the true unknown?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#4: Pay what you can.|#30: Don’t work with artists who are assholes.|#94: No objections? Just do it.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|
Deze website maakt gebruik van cookies om uw gebruikservaring te verbeteren. Meer informatie

26.04.2022 20:00

Pay what you can

Bundelpresentatie SLANGEN

SLANGEN, de nieuwste bundel van Dominique De Groen verschenen bij het balanseer, is een duistere, glinsterende, ondergrondse wedergeboorte, krioelend in de krochten van de popcultuur, in de mummie van de natuur, in wondes en rot vlees, in artificiële woestijnen en op geoliede dad bods, verstrengeld met de wurgende algoritmes van het heden.

Op 26/04, om 20u, werpt de bundel in Kunsthal haar slangenvel af.

Naast Dominique zullen ook de fantastische dichters Nele Buyst en Maxime Garcia Diaz voorlezen uit hun werk. Channel dus je innerlijke serpent en glibber daarheen!

🐍

Dominique De Groen (1991) is schrijver en beeldend kunstenaar. Bij het balanseer publiceerde ze eerder de bundels Shop Girl (2017), Sticky Drama (2019) en Offerlam (2020). Met haar werk won ze de Frans Vogel Poëzieprijs 2019 en de Publieksprijs van de FintroPrijs voor Literatuur 2021.

Cover