#59: Always protect the floor when painting (or pouring concrete)|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#111: Do it together.|#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|#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.|#92: We’re a learning organisation.|#44: No name tags at dinner.|#124: Do less, do it better.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#14: Can you also remain a toddler institution?|#53: Immaterial support for artists is important.|#4: Pay what you can.|#64: Arrange a distribution of forces.|#19: Have fun at the exhibition.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#32: Be pan-gender polyphonic.|#34: We pay artists.|#55: Keep basic human needs on the forefront.|#56: Take a lunch break.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#74: Last one out turns of the lights.|#29: We make the program for the artist that we exhibit.|#59: Always protect the floor when painting (or pouring concrete)|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#111: Do it together.|#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|#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.|#92: We’re a learning organisation.|#44: No name tags at dinner.|#124: Do less, do it better.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#14: Can you also remain a toddler institution?|#53: Immaterial support for artists is important.|#4: Pay what you can.|#64: Arrange a distribution of forces.|#19: Have fun at the exhibition.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#32: Be pan-gender polyphonic.|#34: We pay artists.|#55: Keep basic human needs on the forefront.|#56: Take a lunch break.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#74: Last one out turns of the lights.|#29: We make the program for the artist that we exhibit.|
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19.10.2018 00:00

Pay what you can

Lezing:
Gavin Wade, Eastside Projects

"We bouwen al tien jaar aan een kunstwerk."

"Wij werken via kunst - kunst als een essentiële menselijke taak."

"Wij willen nieuw leven."

"In de afgelopen tien jaar hebben we de opkomst gezien van een meer autoritaire samenleving. We zullen dit nooit accepteren."

"Geef bestaande structuren opnieuw vorm, als een manier om te overleven in een kapitalistische economie."

"Renoveer bestaande structuren, als een manier om te overleven in een kapitalistische economie."

Gavin Wade is een kunstenaar-curator, directeur van Eastside Projects - een ‘artist run multiverse’ in Birmingham, VK - en Senior Research Fellow binnen de School of art van Birmingham City University. Zijn recente boek 'Upcycle This Book' (2017) werd uitgegeven door Book Works en Stroom Den Haag en brengt teksten bijeen van de afgelopen 12 jaar, over het maken van kunst en over cureren als kunstenaar. Lopende projecten zijn ‘This is the Gallery and the Gallery is Many Things X’ in het vernieuwde Eastside Projects; 'Park Life', een tentoonstellingsproject voor kunst in de openbare ruimte in Banbury; en 'Station Clock' door Susan Philipsz (het 2 miljoen pond kostende Birmingham Big Art Project voor 2026 met HS2, de nieuwe hogesnelheidslijn); zijn doorlopende 'A-Z Display Units (After Kiesler & Krischanitz)' (2015-); en zijn doorlopende publicatieproject ‘Strategic Questions’ (2002-).

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