#131: A visitor who comes back after a week might discover new additions to the exhibition.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#19: Have fun at the exhibition.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#132: Things will always look weird when you’re the first doing it.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#56: Take a lunch break.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#53: Immaterial support for artists is important.|#107: Build a community / scene.|#127: Remain practical: what happens to the work in an endless exhibition?|#65: No excuses: Thursday morning, team meeting.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#55: Keep basic human needs on the forefront.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#64: Arrange a distribution of forces.|#20: Are exhibitions the most suitable form for the art that we present?|#137: Use the publication as programming space|#117: Consider design, organisational structures and architecture as programme.|#35: The artist fee should be good.|#91: Embrace doubt.|#51: How do we invite the true unknown?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#62: Be kind. Full dishwasher: empty it.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#19: Have fun at the exhibition.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#132: Things will always look weird when you’re the first doing it.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#56: Take a lunch break.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#53: Immaterial support for artists is important.|#107: Build a community / scene.|#127: Remain practical: what happens to the work in an endless exhibition?|#65: No excuses: Thursday morning, team meeting.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#55: Keep basic human needs on the forefront.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#64: Arrange a distribution of forces.|#20: Are exhibitions the most suitable form for the art that we present?|#137: Use the publication as programming space|#117: Consider design, organisational structures and architecture as programme.|#35: The artist fee should be good.|#91: Embrace doubt.|#51: How do we invite the true unknown?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#62: Be kind. Full dishwasher: empty it.|
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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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