#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#26: More artists, less borders.|#117: Consider design, organisational structures and architecture as programme.|#82: Clean and sterile looks professional, but really boring.|#30: Don’t work with artists who are assholes.|#55: Keep basic human needs on the forefront.|#99: Evolve according to changing needs.|#62: Don’t be a dick. Full dishwasher: empty it.|#39: Be the early stepping stone in an artist’s career|#17: An exhibition is never finished.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#54: What about disabled artists?|#19: Have fun at the exhibition.|#16: Kunsthal Gent will always be a construction site.|#6: Demand that visitors are active.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#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|#64: Arrange a distribution of forces.|#105: Kunsthal Gent is local in scale, but globally connected.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#14: Can you also remain a toddler institution?|#89: Build-in impurity within the organisation.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#107: Build a community / scene.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#26: More artists, less borders.|#117: Consider design, organisational structures and architecture as programme.|#82: Clean and sterile looks professional, but really boring.|#30: Don’t work with artists who are assholes.|#55: Keep basic human needs on the forefront.|#99: Evolve according to changing needs.|#62: Don’t be a dick. Full dishwasher: empty it.|#39: Be the early stepping stone in an artist’s career|#17: An exhibition is never finished.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#54: What about disabled artists?|#19: Have fun at the exhibition.|#16: Kunsthal Gent will always be a construction site.|#6: Demand that visitors are active.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#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|#64: Arrange a distribution of forces.|#105: Kunsthal Gent is local in scale, but globally connected.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#14: Can you also remain a toddler institution?|#89: Build-in impurity within the organisation.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#107: Build a community / scene.|
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21.05.2021 20:00

Opening en performance

Pay what you can

Institute Of Things To Come:
Goda Palekaite + Quinsy Gario

Onderdeel van THE CONVENTION OF RESTORATIVE ANATOMY AND PROSOPOPEIA door The Institute of Things To Come

Opening tentoonstelling Goda Palekaite met een performance door Quinsy Gario, in het Oud Huis van Kunsthal Gent. Meer info volgt.

THE INSTITUTE OF THINGS TO COME
The Institute of Things to Come is an itinerant art programme aimed at investigating forms of imaginative speculation as cultural strategies and methodologies for critical positions. Founded in 2017 by artist Ludovica Carbotta and curator Valerio Del Baglivo, each year The Institute focuses on a different theme, inviting artists to present works that interact with other disciplines. At the centre of each yearly theme are a series of artworks, interrogated through conferences projections, seminars and exhibitions. Moreover The Institute conducts a nine-months Associates Programme, allowing young participants to develop their practice and contribute to the public programme in concert with the yearly theme.
Since 2017 the programme has collaborated with Fondazione Sandretto Re Rebaudengo (Turin), Universita degli Studi di Torino, Grazer Kunstverein (Graz).


Goda Palekaite (Vilnius, 1987)
Goda Palekaitė is an artist and researcher whose work can be described as a combination of artistic, theatrical and anthropological practices. It evolves around long-term projects exploring the politics of historical narratives, the agency of dreams and collective imagination, and social conditions of creativity. Their outcomes usually manifest as performances, scenographies, installations, and texts. Her solo show “Legal Implications of a Dream” was recently opened at the RawArt gallery in Tel Aviv and the Art Cube Artists’ Studios, Jerusalem. In the last year her performances and installations have been presented at the “Swamp pavilion” in The Biennale Architettura 2018 in Venice, Contemporary Art Center (CAC) and the Lithuanian National Drama Theatre in Vilnius, and Kanal - Centre Pompidou in Brussels. In 2019 Palekaitė received The Golden Stage Cross (highest Lithuanian theatre award). Goda is based in Brussels and Vilnius.

Quinsy Gario is a visual and performance artist from the Caribbean islands that have Dutch colonization in common. He focuses on decolonial remembering and the actions that that remembering can engender. His most well-known work, Zwarte Piet Is Racisme (2011–2012), critiqued the general knowledge surrounding the racist Dutch figure and practice of Zwarte Piet (Black Pete), later bringing into the open the governmental institutional support that keeps the figure alive in the Netherlands. He has an academic background in media studies, gender studies and postcolonial studies, is a graduate of the Master Artistic Research program at the Royal Academy of Art, The Hague and was a recurring participant of the Black Europe Body Politics conference series.
He received the Royal Academy Master Thesis Prize 2017, the Black Excellence Award 2016, the Amsterdam Fringe Festival Silver Award 2015, the Dutch Caribbean Pearls Community Pearl Award 2014 and the Hollandse Nieuwe 12 Theatermakers Prize 2011. In 2017 he received a Humanity in Action Detroit Fellowship and in 2017/2018 he was a BAK Fellow. Gario is a board member of De Appel, a member of Family Connection and of the pan-African artist collective State of L3.