#44: No name tags at dinner.|#26: More artists, less borders.|#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.|#17: An exhibition is never finished.|#36: We support production separately.|#98: The success of it will not lie in the result but in the process.|#90: The best systems have a failure or ‘a hole’ in them…|#37: Operate with radical transparency.|#91: Embrace doubt.|#56: Take a lunch break.|#35: The artist fee should be good.|#61: No all male install teams.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#62: Don’t be a dick. Full dishwasher: empty it.|#6: Demand that visitors are active.|#4: Pay what you can.|#40: Follow the artist|#19: Have fun at the exhibition.|#111: Do it together.|#68: Once in a while we need to get out of utopia and get something done.|#65: No excuses: Thursday morning, team meeting.|#112: Spaces today don’t need to be curated, but occupied.|#92: We’re a learning organisation.|#30: Don’t work with artists who are assholes.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#127: Remain practical: what happens to the work in an endless exhibition?|#39: Be the early stepping stone in an artist’s career|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#64: Arrange a distribution of forces.|#14: Can you also remain a toddler institution?|#10: Don’t be obsessed with numbers.|#28: Make Contracts.|#16: Kunsthal Gent will always be a construction site.|#82: Clean and sterile looks professional, but really boring.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#59: Always protect the floor when painting (or pouring concrete)|#132: Things will always look weird when you’re the first doing it.|#2: Bring something new to the city of Ghent.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#34: We pay artists.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#137: Use the publication as programming space|#107: Build a community / scene.|#54: What about disabled artists?|#74: Last one out turns of the lights.|#99: Evolve according to changing needs.|#32: Be pan-gender polyphonic.|#51: How do we invite the true unknown?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#15: Kunsthal Gent aims to be an extension of public space.|#20: Are exhibitions the most suitable form for the art that we present?|#53: Immaterial support for artists is important.|#117: Consider design, organisational structures and architecture as programme.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#81: Things come alive when there is friction.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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.|#89: Build-in impurity within the organisation.|#119: Be a space of production.|#29: We make the program for the artist that we exhibit.|#105: Kunsthal Gent is local in scale, but globally connected.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#124: Do less, do it better.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#21: Live with the exhibition, spend time with it.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#84: The White Cube is a lie.|#94: No objections? Just do it.|#44: No name tags at dinner.|#26: More artists, less borders.|#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.|#17: An exhibition is never finished.|#36: We support production separately.|#98: The success of it will not lie in the result but in the process.|#90: The best systems have a failure or ‘a hole’ in them…|#37: Operate with radical transparency.|#91: Embrace doubt.|#56: Take a lunch break.|#35: The artist fee should be good.|#61: No all male install teams.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#62: Don’t be a dick. Full dishwasher: empty it.|#6: Demand that visitors are active.|#4: Pay what you can.|#40: Follow the artist|#19: Have fun at the exhibition.|#111: Do it together.|#68: Once in a while we need to get out of utopia and get something done.|#65: No excuses: Thursday morning, team meeting.|#112: Spaces today don’t need to be curated, but occupied.|#92: We’re a learning organisation.|#30: Don’t work with artists who are assholes.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#127: Remain practical: what happens to the work in an endless exhibition?|#39: Be the early stepping stone in an artist’s career|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#64: Arrange a distribution of forces.|#14: Can you also remain a toddler institution?|#10: Don’t be obsessed with numbers.|#28: Make Contracts.|#16: Kunsthal Gent will always be a construction site.|#82: Clean and sterile looks professional, but really boring.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#59: Always protect the floor when painting (or pouring concrete)|#132: Things will always look weird when you’re the first doing it.|#2: Bring something new to the city of Ghent.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#34: We pay artists.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#137: Use the publication as programming space|#107: Build a community / scene.|#54: What about disabled artists?|#74: Last one out turns of the lights.|#99: Evolve according to changing needs.|#32: Be pan-gender polyphonic.|#51: How do we invite the true unknown?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#15: Kunsthal Gent aims to be an extension of public space.|#20: Are exhibitions the most suitable form for the art that we present?|#53: Immaterial support for artists is important.|#117: Consider design, organisational structures and architecture as programme.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#81: Things come alive when there is friction.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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.|#89: Build-in impurity within the organisation.|#119: Be a space of production.|#29: We make the program for the artist that we exhibit.|#105: Kunsthal Gent is local in scale, but globally connected.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#124: Do less, do it better.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#21: Live with the exhibition, spend time with it.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#84: The White Cube is a lie.|#94: No objections? Just do it.|
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20.10.18

Evenement

Lezing:
Croxhapox, Jörn Schafaff

Croxhapox in Kunsthal Gent met koffietafel, gebak en een lezing door Jörn Schafaff

Jörn Schafaff – ACCESS DENIED

Alle kunst is afhankelijk van de informatie die er over beschikbaar is om door de tijd heen te kunnen bestaan in een kunstdiscours. Welke goede reden zou er voor een kunstenaar kunnen zijn om de gangbare middelen en formats van informatie die dominant zijn in de kunstwereld ter discussie te stellen? Aan de hand van voorbeelden uit Performance Art en Situational Art zal Jörn Schafaff onderzoeken hoe kunstenaars erin slagen de relatie tussen hun werk en de kijkers wat minder voor de hand liggend te maken.

Voertaal Engels


Deze bijeenkomst kadert in de experimentele residentie van croxhapox in het ontwikkelingsplatform van Kunsthal Gent.

Croxhapox is een Gents experimenteel kunstenhuis met een lange geschiedenis, en momenteel zonder een vaste uitvalsbasis. Kunsthal Gent nodigde het nieuwe team van croxhapox uit als de eerste residenten van het ontwikkelingsplatform. Ze onderzoeken tijdens deze periode hoe ze hun projecten kunnen documenteren met de intentie een reflectief archief uit te bouwen dat voedend en richtinggevend kan zijn voor hun toekomstige werking.

Het ontwikkelingsplatform van Kunsthal Gent is gericht op de ondersteuning van kunstenaars, collectieven en kleine organisaties die zich in een specifiek moment in hun loopbaan of werking bevinden. Het platform gaat van start vanaf februari 2019; met de residentie van croxhapox in het najaar van 2018 wordt het mogelijke functioneren van het platform getest.

Deze lezing is tevens onderdeel van een presentatieweekend van ‘Circumstances’, een samenwerking van croxhapox met platvvorm Deinze en is aangebracht door Shervin Kianersi Haghighi. Meer informatie over 'Circumstances' vindt u op croxhapox.org /platvvorm.org

Jörn Schafaff is een kunsthistoricus die onderzoek doet, schrijft en doceert over beeldende kunst van de 20e en 21e eeuw. Vanuit een achtergrond in culturele studies, is een van zijn belangrijkste interessegebieden de interrelatie tussen beeldende kunst en andere artistieke disciplines, met name film, theater en muziek. Hij was gastprofessor voor mediatheorie en mediageschiedenis binnen de opleiding Digital Media aan de universiteit voor de kunsten in Bremen, lid van het oprichtend team van het studieprogramma Cultures of the Curatorial aan de Academie voor beeldende kunst Leipzig, en onderzoeker aan de Freie Universität Berlin. Hij gaf lezingen aan de LUCA School of Arts in Gent, de FHNW Academy of Art and Design in Basel, de University of the Arts in Berlijn en de University of Chicago. Hij is de auteur en co-redacteur van talrijke publicaties, waaronder Sowohl als auch dazwischen: Erfahrungsräume der Kunst, 2015, Assign & Arrange: Methodologies of Presentation in Art and Dance (2014), en Timing – On the Temporal Dimension of Exhibiting (2014). In 2010 publiceerde hij de eerste monografie ooit geschreven over Philippe Parreno, How We Gonna Behave? Philippe Parreno: Angewandtes Kino. Zijn nieuwste publicatie is een uitgebreide monografie over de Thaise kunstenaar Rirkrit Tiravanija, Rirkrit Tiravanija: Set, Szenario, Situation. Werke 1987 - 2005 (2018).

Het voormalig Provinciaal Cultuurcentrum Caermersklooster verandert in een nieuwe tentoonstellings- en ontmoetingsplek voor beeldende kunst in Gent. NUCLEOen Smoke & Dust (019) richtten Kunsthal Gent vzw op, de nieuwe organisatie die deze transformatie tot uitvoer zal brengen.

De komende maanden is het Caermersklooster een werfzone: artistieke en architecturale ingrepen veranderen stapsgewijs het monumentale gebouw in aanloop naar de officiële (her)opening in januari 2019. Tegelijkertijd nodigen we kunstenaars, kunstenorganisaties en het publiek uit voor een open gesprek over de toekomst van het Caermersklooster en Kunsthal Gent. Van eind augustus tot december 2018 vinden er wekelijks lezingen en workshops plaats, waarmee we het vormgeven van de nieuwe organisatie publiek maken. Je vind het volledige programma op www.kunsthal.gent