#17: An exhibition is never finished.|#16: Kunsthal Gent will always be a construction site.|#81: Things come alive when there is friction.|#117: Consider design, organisational structures and architecture as programme.|#15: Kunsthal Gent aims to be an extension of public space.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#74: Last one out turns of the lights.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#39: Be the early stepping stone in an artist’s career|#36: We support production separately.|#28: Make Contracts.|#90: The best systems have a failure or ‘a hole’ in them…|#92: We’re a learning organisation.|#127: Remain practical: what happens to the work in an endless exhibition?|#6: Demand that visitors are active.|#40: Follow the artist|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#94: No objections? Just do it.|#62: Don’t be a dick. Full dishwasher: empty it.|#56: Take a lunch break.|#89: Build-in impurity within the organisation.|#107: Build a community / scene.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#14: Can you also remain a toddler institution?|#26: More artists, less borders.|#4: Pay what you can.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#65: No excuses: Thursday morning, team meeting.|#32: Be pan-gender polyphonic.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#37: Operate with radical transparency.|#53: Immaterial support for artists is important.|#137: Use the publication as programming space|#132: Things will always look weird when you’re the first doing it.|#105: Kunsthal Gent is local in scale, but globally connected.|#10: Don’t be obsessed with numbers.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#84: The White Cube is a lie.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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|#68: Once in a while we need to get out of utopia and get something done.|#29: We make the program for the artist that we exhibit.|#54: What about disabled artists?|#51: How do we invite the true unknown?|#82: Clean and sterile looks professional, but really boring.|#20: Are exhibitions the most suitable form for the art that we present?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#119: Be a space of production.|#112: Spaces today don’t need to be curated, but occupied.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#59: Always protect the floor when painting (or pouring concrete)|#2: Bring something new to the city of Ghent.|#35: The artist fee should be good.|#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.|#64: Arrange a distribution of forces.|#55: Keep basic human needs on the forefront.|#44: No name tags at dinner.|#99: Evolve according to changing needs.|#30: Don’t work with artists who are assholes.|#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.|#21: Live with the exhibition, spend time with it.|#19: Have fun at the exhibition.|#61: No all male install teams.|#124: Do less, do it better.|#34: We pay artists.|#91: Embrace doubt.|#111: Do it together.|#98: The success of it will not lie in the result but in the process.|#17: An exhibition is never finished.|#16: Kunsthal Gent will always be a construction site.|#81: Things come alive when there is friction.|#117: Consider design, organisational structures and architecture as programme.|#15: Kunsthal Gent aims to be an extension of public space.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#74: Last one out turns of the lights.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#39: Be the early stepping stone in an artist’s career|#36: We support production separately.|#28: Make Contracts.|#90: The best systems have a failure or ‘a hole’ in them…|#92: We’re a learning organisation.|#127: Remain practical: what happens to the work in an endless exhibition?|#6: Demand that visitors are active.|#40: Follow the artist|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#94: No objections? Just do it.|#62: Don’t be a dick. Full dishwasher: empty it.|#56: Take a lunch break.|#89: Build-in impurity within the organisation.|#107: Build a community / scene.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#14: Can you also remain a toddler institution?|#26: More artists, less borders.|#4: Pay what you can.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#65: No excuses: Thursday morning, team meeting.|#32: Be pan-gender polyphonic.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#37: Operate with radical transparency.|#53: Immaterial support for artists is important.|#137: Use the publication as programming space|#132: Things will always look weird when you’re the first doing it.|#105: Kunsthal Gent is local in scale, but globally connected.|#10: Don’t be obsessed with numbers.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#84: The White Cube is a lie.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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|#68: Once in a while we need to get out of utopia and get something done.|#29: We make the program for the artist that we exhibit.|#54: What about disabled artists?|#51: How do we invite the true unknown?|#82: Clean and sterile looks professional, but really boring.|#20: Are exhibitions the most suitable form for the art that we present?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#119: Be a space of production.|#112: Spaces today don’t need to be curated, but occupied.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#59: Always protect the floor when painting (or pouring concrete)|#2: Bring something new to the city of Ghent.|#35: The artist fee should be good.|#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.|#64: Arrange a distribution of forces.|#55: Keep basic human needs on the forefront.|#44: No name tags at dinner.|#99: Evolve according to changing needs.|#30: Don’t work with artists who are assholes.|#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.|#21: Live with the exhibition, spend time with it.|#19: Have fun at the exhibition.|#61: No all male install teams.|#124: Do less, do it better.|#34: We pay artists.|#91: Embrace doubt.|#111: Do it together.|#98: The success of it will not lie in the result but in the process.|
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06—22.03.2020 20:00

opening / activatieweekends / UITGESTELD vanaf 13.03

Pay what you can

manoeuvre presenteert:
Fake Calligraphy #4 - Ada Van Hoorebeke, Maartje Fliervoet, Kato Six

LET OP! Alle activiteiten worden uitgesteld vanaf 13.03.

Manoeuvre presenteert: Fake Calligraphy #4
Ada Van Hoorebeke, Maartje Fliervoet, Kato Six, manoeuvre
en participanten

Vrijdag 6 maart, 20:00 uur
Opening en introductie door de kunstenaars

Daarna te zien in Kunsthal Gent op zaterdag en zondag t/m 22 maart, 11:00-18:00
Activatie-sessies in aanwezigheid van de kunstenaars: zaterdag 7 & 14 maart
Finissage: zondag 22 maart


Manoeuvre
is een kunstenplek voor ambacht, co-creatie en diversiteit in het Rabot in Gent. Sinds 2017 werkt Manoeuvre met Ada Van Hoorebeke, Maartje Fliervoet en participanten aan het project Valse Kalligrafie/Fake Calligraphy, een activeerbare sculptuur geïnspireerd door Batik Besurek, een traditioneel kalligrafisch batikpatroon uit Bengkulu (Indonesië). Eerdere activaties van de sculptuur vonden plaats in Wiels in Brussel.

Batik Besurek werd oorspronkelijk ontworpen door Indonesische moslims en is afgeleid van het Arabische schrift, maar de tekens zijn niet altijd leesbaar. Met de onleesbare kalligrafische batikpatronen in het achterhoofd hebben de kunstenaars een sculptuur ontwikkeld waarin notaties van een taal zonder letterlijke betekenis centraal staan.

Fake Calligraphy is geen letterlijke voortzetting van de Batik Besurek. Vanuit hun achtergrond in verschillende taalsystemen werken deelnemers mee aan taaltekenpatronen zonder letterlijke betekenis. Hun activiteiten vormen zo een middel tot communicatie zodat Fake Calligraphy een platform voor uitwisseling van spraak, lichaamstaal, techniek en culturele kennis kan zijn. Verschillende stadia van batikproductie komen aan bod – zoals het ontwerp, het schilderen met was op textiel en het verven met natuurlijke kleurstoffen. Daarnaast wordt geschreven met galappelinkt en het plooien van metalen krullen.

Voor Fake Calligraphy #4 in Kunsthal Gent is de sculptuur aangepast aan de context van Kunsthal Gent en de geschiedenis van het caermersklooster. Naast een werkomgeving in volle actie, zijn ook eerdere cycli Fake Calligraphy in de Kunsthal te zien.

UITNODIGING
In de weekends van 7/8 maart, 14/15 maart en 21/22 maart wordt Fake Calligraphy in Kunsthal Gent geactiveerd door manoeuvre, verschillende participanten en de kunstenaars.

U wordt vriendelijk uitgenodigd om deel te nemen in de ontwerpfases, zoals: schrijven met galappelinkt, batikken van valse kalligrafie en het plooien van een metalen ‘krullewiet’ in vals schrift.

Deelnemen is gratis en duurt ongeveer 15-45 min. per deelname.
Gelieve in te schrijven voor deelname op: nathalie@manoeuvre.org voor 5 maart
Indien gewenst, kan bij deelname uw naam toegevoegd worden aan een lijst met deelnemers.

Activatie-sessies:

Zaterdag 7 maart

O 14:00-14:45

O 15:00-15:45

O 16:00-16:45

Zaterdag 14 maart

O 14:00-14:45

O 15:00-15:45

O 16:00-16:45

Fake Calligraphy4