#35: The artist fee should be good.|#94: No objections? Just do it.|#17: An exhibition is never finished.|#6: Demand that visitors are active.|#92: We’re a learning organisation.|#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.|#29: We make the program for the artist that we exhibit.|#117: Consider design, organisational structures and architecture as programme.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#16: Kunsthal Gent will always be a construction site.|#132: Things will always look weird when you’re the first doing it.|#89: Build-in impurity within the organisation.|#2: Bring something new to the city of Ghent.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#81: Things come alive when there is friction.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#40: Follow the artist|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#65: No excuses: Thursday morning, team meeting.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#105: Kunsthal Gent is local in scale, but globally connected.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#19: Have fun at the exhibition.|#35: The artist fee should be good.|#94: No objections? Just do it.|#17: An exhibition is never finished.|#6: Demand that visitors are active.|#92: We’re a learning organisation.|#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.|#29: We make the program for the artist that we exhibit.|#117: Consider design, organisational structures and architecture as programme.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#16: Kunsthal Gent will always be a construction site.|#132: Things will always look weird when you’re the first doing it.|#89: Build-in impurity within the organisation.|#2: Bring something new to the city of Ghent.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#81: Things come alive when there is friction.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#40: Follow the artist|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#65: No excuses: Thursday morning, team meeting.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#105: Kunsthal Gent is local in scale, but globally connected.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#19: Have fun at the exhibition.|
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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.