#20: Are exhibitions the most suitable form for the art that we present?|#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.|#119: Be a space of production.|#99: Evolve according to changing needs.|#117: Consider design, organisational structures and architecture as programme.|#107: Build a community / scene.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#137: Use the publication as programming space|#53: Immaterial support for artists is important.|#64: Arrange a distribution of forces.|#4: Pay what you can.|#14: Can you also remain a toddler institution?|#55: Keep basic human needs on the forefront.|#10: Don’t be obsessed with numbers.|#26: More artists, less borders.|#35: The artist fee should be good.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#98: The success of it will not lie in the result but in the process.|#127: Remain practical: what happens to the work in an endless exhibition?|#16: Kunsthal Gent will always be a construction site.|#44: No name tags at dinner.|#81: Things come alive when there is friction.|#124: Do less, do it better.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#39: Be the early stepping stone in an artist’s career|#20: Are exhibitions the most suitable form for the art that we present?|#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.|#119: Be a space of production.|#99: Evolve according to changing needs.|#117: Consider design, organisational structures and architecture as programme.|#107: Build a community / scene.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#137: Use the publication as programming space|#53: Immaterial support for artists is important.|#64: Arrange a distribution of forces.|#4: Pay what you can.|#14: Can you also remain a toddler institution?|#55: Keep basic human needs on the forefront.|#10: Don’t be obsessed with numbers.|#26: More artists, less borders.|#35: The artist fee should be good.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#98: The success of it will not lie in the result but in the process.|#127: Remain practical: what happens to the work in an endless exhibition?|#16: Kunsthal Gent will always be a construction site.|#44: No name tags at dinner.|#81: Things come alive when there is friction.|#124: Do less, do it better.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#39: Be the early stepping stone in an artist’s career|
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