#26: More artists, less borders.|#39: Be the early stepping stone in an artist’s career|#92: We’re a learning organisation.|#62: Be kind. Full dishwasher: empty it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#14: Can you also remain a toddler institution?|#105: Kunsthal Gent is local in scale, but globally connected.|#4: Pay what you can.|#6: Demand that visitors are active.|#94: No objections? Just do it.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#84: The White Cube is a lie.|#54: What about disabled artists?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#56: Take a lunch break.|#10: Don’t be obsessed with numbers.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#89: Build-in impurity within the organisation.|#17: An exhibition is never finished.|#111: Do it together.|#59: Always protect the floor when painting (or pouring concrete)|#98: The success of it will not lie in the result but in the process.|#40: Follow the artist|#61: No all male install teams.|#26: More artists, less borders.|#39: Be the early stepping stone in an artist’s career|#92: We’re a learning organisation.|#62: Be kind. Full dishwasher: empty it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#14: Can you also remain a toddler institution?|#105: Kunsthal Gent is local in scale, but globally connected.|#4: Pay what you can.|#6: Demand that visitors are active.|#94: No objections? Just do it.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#84: The White Cube is a lie.|#54: What about disabled artists?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#56: Take a lunch break.|#10: Don’t be obsessed with numbers.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#89: Build-in impurity within the organisation.|#17: An exhibition is never finished.|#111: Do it together.|#59: Always protect the floor when painting (or pouring concrete)|#98: The success of it will not lie in the result but in the process.|#40: Follow the artist|#61: No all male install teams.|
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06.11.2018 00:00

Pay what you can

Lezing / Performance:
Chris Fitzpatrick (US / Kunstverein Munchen)

Chris Fitzpatrick talks about 'All the exhibitions that don't immediately seem to be exhibitions at Kunstverein München e.V., so far'. Next to his talk Chris also invites Erik Thys with Conglomerate for piano and sequencer (2018—13'), who on his turn invites Alain Franco to perform the human part of this piece.

Chris Fitzpatrick (New York, 1978) is the director of Kunstverein München, a 195-year-old contemporary art institution in Munich, Germany. From 2012–2015 he was the director of Objectif Exhibitions in Antwerp, Belgium. He has independently curated exhibitions in Austria, China, Estonia, Italy, Lithuania, Mexico, and the United States.

Erik Thys (b. 1961, lives in Brussels) is an artist, composer, writer and psychiatrist. Thys has exhibited and performed his work at Küchenausstellung Vienna (2018), Palais de Tokyo, Paris (2016); Saint Mary’s Cathedral, San Francisco (2015); Objectif Exhibitions Antwerp (2014); Wiels Contemporary Art Centre, Brussels (2014, 2011); Castillo/Corrales, Paris (2013); the Artist’s Institute, New York (2013); Galerie Micheline Szwajcer, Antwerp (2012); Berlin Biennale (2008); and many others.

Alain Franco was born in Antwerp. He did musical studies in Belgian conservatories and post-master studies in France. He worked as a musician (playing conducting) with orchestras and ensembles in Europe, both in Classical and Contemporary repertoire. He focused since a few years on collaborations with choreographers and performance artists. Projects include: 'Figures de voisinage' (Jean-Luc Ducourt), 'Zeitung' (Anne Teresa de Keersmaeker), 'Tres Scripturae' (Etienne Guilloteau), 'Songs of Love and War' (Deufert+Plischke). Currently working with Meg Suart (Munich Kamerspiele , 2012) as well as with 'Akademie der Künste' in Berlin.

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