#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#14: Can you also remain a toddler institution?|#64: Arrange a distribution of forces.|#65: No excuses: Thursday morning, team meeting.|#51: How do we invite the true unknown?|#82: Clean and sterile looks professional, but really boring.|#53: Immaterial support for artists is important.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#117: Consider design, organisational structures and architecture as programme.|#34: We pay artists.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#28: Make Contracts.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#89: Build-in impurity within the organisation.|#81: Things come alive when there is friction.|#16: Kunsthal Gent will always be a construction site.|#74: Last one out turns of the lights.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#107: Build a community / scene.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#62: Be kind. Full dishwasher: empty it.|#98: The success of it will not lie in the result but in the process.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#14: Can you also remain a toddler institution?|#64: Arrange a distribution of forces.|#65: No excuses: Thursday morning, team meeting.|#51: How do we invite the true unknown?|#82: Clean and sterile looks professional, but really boring.|#53: Immaterial support for artists is important.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#117: Consider design, organisational structures and architecture as programme.|#34: We pay artists.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#28: Make Contracts.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#89: Build-in impurity within the organisation.|#81: Things come alive when there is friction.|#16: Kunsthal Gent will always be a construction site.|#74: Last one out turns of the lights.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#107: Build a community / scene.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#62: Be kind. Full dishwasher: empty it.|#98: The success of it will not lie in the result but in the process.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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.|
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