#3: Entrance to all exhibitions at Kunsthal Gent is free.|#6: Demand that visitors are active.|#2: Bring something new to the city of Ghent.|#37: Operate with radical transparency.|#19: Have fun at the exhibition.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#34: We pay artists.|#111: Do it together.|#36: We support production separately.|#21: Live with the exhibition, spend time with it.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#40: Follow the artist|#99: Evolve according to changing needs.|#44: No name tags at dinner.|#68: Once in a while we need to get out of utopia and get something done.|#16: Kunsthal Gent will always be a construction site.|#55: Keep basic human needs on the forefront.|#56: Take a lunch break.|#112: Spaces today don’t need to be curated, but occupied.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#74: Last one out turns of the lights.|#92: We’re a learning organisation.|#90: The best systems have a failure or ‘a hole’ in them…|#20: Are exhibitions the most suitable form for the art that we present?|#32: Be pan-gender polyphonic.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#6: Demand that visitors are active.|#2: Bring something new to the city of Ghent.|#37: Operate with radical transparency.|#19: Have fun at the exhibition.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#34: We pay artists.|#111: Do it together.|#36: We support production separately.|#21: Live with the exhibition, spend time with it.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#40: Follow the artist|#99: Evolve according to changing needs.|#44: No name tags at dinner.|#68: Once in a while we need to get out of utopia and get something done.|#16: Kunsthal Gent will always be a construction site.|#55: Keep basic human needs on the forefront.|#56: Take a lunch break.|#112: Spaces today don’t need to be curated, but occupied.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#74: Last one out turns of the lights.|#92: We’re a learning organisation.|#90: The best systems have a failure or ‘a hole’ in them…|#20: Are exhibitions the most suitable form for the art that we present?|#32: Be pan-gender polyphonic.|
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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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