#56: Take a lunch break.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#15: Kunsthal Gent aims to be an extension of public space.|#64: Arrange a distribution of forces.|#74: Last one out turns of the lights.|#59: Always protect the floor when painting (or pouring concrete)|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#21: Live with the exhibition, spend time with it.|#54: What about disabled artists?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#34: We pay artists.|#89: Build-in impurity within the organisation.|#99: Evolve according to changing needs.|#61: No all male install teams.|#127: Remain practical: what happens to the work in an endless exhibition?|#20: Are exhibitions the most suitable form for the art that we present?|#94: No objections? Just do it.|#53: Immaterial support for artists is important.|#19: Have fun at the exhibition.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#117: Consider design, organisational structures and architecture as programme.|#29: We make the program for the artist that we exhibit.|#32: Be pan-gender polyphonic.|#56: Take a lunch break.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#15: Kunsthal Gent aims to be an extension of public space.|#64: Arrange a distribution of forces.|#74: Last one out turns of the lights.|#59: Always protect the floor when painting (or pouring concrete)|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#21: Live with the exhibition, spend time with it.|#54: What about disabled artists?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#34: We pay artists.|#89: Build-in impurity within the organisation.|#99: Evolve according to changing needs.|#61: No all male install teams.|#127: Remain practical: what happens to the work in an endless exhibition?|#20: Are exhibitions the most suitable form for the art that we present?|#94: No objections? Just do it.|#53: Immaterial support for artists is important.|#19: Have fun at the exhibition.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#117: Consider design, organisational structures and architecture as programme.|#29: We make the program for the artist that we exhibit.|#32: Be pan-gender polyphonic.|
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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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