#39: Be the early stepping stone in an artist’s career|#37: Operate with radical transparency.|#137: Use the publication as programming space|#82: Clean and sterile looks professional, but really boring.|#99: Evolve according to changing needs.|#64: Arrange a distribution of forces.|#117: Consider design, organisational structures and architecture as programme.|#94: No objections? Just do it.|#34: We pay artists.|#30: Don’t work with artists who are assholes.|#119: Be a space of production.|#59: Always protect the floor when painting (or pouring concrete)|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#15: Kunsthal Gent aims to be an extension of public space.|#16: Kunsthal Gent will always be a construction site.|#89: Build-in impurity within the organisation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#10: Don’t be obsessed with numbers.|#74: Last one out turns of the lights.|#90: The best systems have a failure or ‘a hole’ in them…|#14: Can you also remain a toddler institution?|#19: Have fun at the exhibition.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#68: Once in a while we need to get out of utopia and get something done.|#39: Be the early stepping stone in an artist’s career|#37: Operate with radical transparency.|#137: Use the publication as programming space|#82: Clean and sterile looks professional, but really boring.|#99: Evolve according to changing needs.|#64: Arrange a distribution of forces.|#117: Consider design, organisational structures and architecture as programme.|#94: No objections? Just do it.|#34: We pay artists.|#30: Don’t work with artists who are assholes.|#119: Be a space of production.|#59: Always protect the floor when painting (or pouring concrete)|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#15: Kunsthal Gent aims to be an extension of public space.|#16: Kunsthal Gent will always be a construction site.|#89: Build-in impurity within the organisation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#10: Don’t be obsessed with numbers.|#74: Last one out turns of the lights.|#90: The best systems have a failure or ‘a hole’ in them…|#14: Can you also remain a toddler institution?|#19: Have fun at the exhibition.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#68: Once in a while we need to get out of utopia and get something done.|
Deze website maakt gebruik van cookies om uw gebruikservaring te verbeteren. Meer informatie

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.

MDC_KH_CF_001_HR

AFBEELDINGEN
MDC_KH_CF_003_HR