#14: Can you also remain a toddler institution?|#92: We’re a learning organisation.|#6: Demand that visitors are active.|#55: Keep basic human needs on the forefront.|#56: Take a lunch break.|#64: Arrange a distribution of forces.|#17: An exhibition is never finished.|#137: Use the publication as programming space|#127: Remain practical: what happens to the work in an endless exhibition?|#91: Embrace doubt.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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|#26: More artists, less borders.|#32: Be pan-gender polyphonic.|#34: We pay artists.|#4: Pay what you can.|#62: Be kind. Full dishwasher: empty it.|#117: Consider design, organisational structures and architecture as programme.|#132: Things will always look weird when you’re the first doing it.|#74: Last one out turns of the lights.|#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.|#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.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#84: The White Cube is a lie.|#14: Can you also remain a toddler institution?|#92: We’re a learning organisation.|#6: Demand that visitors are active.|#55: Keep basic human needs on the forefront.|#56: Take a lunch break.|#64: Arrange a distribution of forces.|#17: An exhibition is never finished.|#137: Use the publication as programming space|#127: Remain practical: what happens to the work in an endless exhibition?|#91: Embrace doubt.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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|#26: More artists, less borders.|#32: Be pan-gender polyphonic.|#34: We pay artists.|#4: Pay what you can.|#62: Be kind. Full dishwasher: empty it.|#117: Consider design, organisational structures and architecture as programme.|#132: Things will always look weird when you’re the first doing it.|#74: Last one out turns of the lights.|#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.|#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.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#84: The White Cube is a lie.|
Deze website maakt gebruik van cookies om uw gebruikservaring te verbeteren. Meer informatie

22.03.2019 16:00

Pay what you can

Art Cinema OFFoff:
Disassemblies 9: Guts / Gusts (gestations)

Geïnitieerd door de leden van Knowledge Is A Does (KIAD) en met bijzondere bijdrages van Rory Pilgrim, Brendan Curtis en Sarah Browne presenteren we een selectie van video’s, performances en geluidwerken. Disassemblies 9 is een leesgroep en een avondvullend programma rond Vanessa Agard-Jones’ theorievorming over ‘lichamen in systemen’ dat ze definieert als bewegingen die ons vanuit onze ingewanden naar de ruimte van globaal kapitaal leiden. Doorheen geluidslagen, spreuken en fragmenten verkennen we hoe betekenis en macht op een andere manier in kaart kunnen worden gebracht.

Met: Kym Ward, Toon Fibbe, Rory Pilgrim, Katherina Zimmerhackl, Sarah Browne and Karisa Senavitis.

Volledig programma: €10 (schrijf je in via info@offoff.be)Avondprogramma: €8 / €5 (reductietarief)

Sarah-Browne-Report-to-an-Academy-2016.-HD-video-28-minutes.-Courtesy-the-artist-2

AFBEELDINGEN
Sarah-Browne-Report-to-an-Academy-2016.-HD-video-28-minutes.-Courtesy-the-artist