#4: Pay what you can.|#90: The best systems have a failure or ‘a hole’ in them…|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#105: Kunsthal Gent is local in scale, but globally connected.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#64: Arrange a distribution of forces.|#127: Remain practical: what happens to the work in an endless exhibition?|#107: Build a community / scene.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#84: The White Cube is a lie.|#112: Spaces today don’t need to be curated, but occupied.|#82: Clean and sterile looks professional, but really boring.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#14: Can you also remain a toddler institution?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#35: The artist fee should be good.|#92: We’re a learning organisation.|#2: Bring something new to the city of Ghent.|#17: An exhibition is never finished.|#10: Don’t be obsessed with numbers.|#15: Kunsthal Gent aims to be an extension of public space.|#21: Live with the exhibition, spend time with it.|#36: We support production separately.|#124: Do less, do it better.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#4: Pay what you can.|#90: The best systems have a failure or ‘a hole’ in them…|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#105: Kunsthal Gent is local in scale, but globally connected.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#64: Arrange a distribution of forces.|#127: Remain practical: what happens to the work in an endless exhibition?|#107: Build a community / scene.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#84: The White Cube is a lie.|#112: Spaces today don’t need to be curated, but occupied.|#82: Clean and sterile looks professional, but really boring.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#14: Can you also remain a toddler institution?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#35: The artist fee should be good.|#92: We’re a learning organisation.|#2: Bring something new to the city of Ghent.|#17: An exhibition is never finished.|#10: Don’t be obsessed with numbers.|#15: Kunsthal Gent aims to be an extension of public space.|#21: Live with the exhibition, spend time with it.|#36: We support production separately.|#124: Do less, do it better.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|
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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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