#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#34: We pay artists.|#32: Be pan-gender polyphonic.|#6: Demand that visitors are active.|#39: Be the early stepping stone in an artist’s career|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#89: Build-in impurity within the organisation.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#44: No name tags at dinner.|#117: Consider design, organisational structures and architecture as programme.|#99: Evolve according to changing needs.|#20: Are exhibitions the most suitable form for the art that we present?|#132: Things will always look weird when you’re the first doing it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#51: How do we invite the true unknown?|#10: Don’t be obsessed with numbers.|#62: Be kind. Full dishwasher: empty it.|#37: Operate with radical transparency.|#30: Don’t work with artists who are assholes.|#53: Immaterial support for artists is important.|#65: No excuses: Thursday morning, team meeting.|#56: Take a lunch break.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#34: We pay artists.|#32: Be pan-gender polyphonic.|#6: Demand that visitors are active.|#39: Be the early stepping stone in an artist’s career|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#89: Build-in impurity within the organisation.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#44: No name tags at dinner.|#117: Consider design, organisational structures and architecture as programme.|#99: Evolve according to changing needs.|#20: Are exhibitions the most suitable form for the art that we present?|#132: Things will always look weird when you’re the first doing it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#51: How do we invite the true unknown?|#10: Don’t be obsessed with numbers.|#62: Be kind. Full dishwasher: empty it.|#37: Operate with radical transparency.|#30: Don’t work with artists who are assholes.|#53: Immaterial support for artists is important.|#65: No excuses: Thursday morning, team meeting.|#56: Take a lunch break.|
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25.11.2021 19:00

CAVEAT reading room #17, collectieve leesssie

Pay what you can

Grace Ndiritu:
Holistic Reading room

Holistic Reading room (ENG)

Donderdag 25 november, 19.00, KHG#1
Deuren open vanaf 18.00 uur voor een bezoek aan het onderzoeksarchief dat Grace Ndiritu in samenwerking met Jubilee heeft ontworpen.

Collectieve leessessie van Giorgio Agamben's filosofische boek over de wet van het samenleven - "The Highest Poverty: Monastic Rules and Form-of-Life", waarin het leven van de monniken in detail wordt gereconstrueerd, met hun obsessieve aandacht voor de markering van tijd en voor de geloofsregel, voor ascetische technieken en de liturgie.

De leessessie wordt afgewisseld door momenten van stilte meditatie onder leiding van Grace Ndiritu en gecontextualiseerd door Julie Van Elslande (Jubilee), vanuit haar onderzoek naar het leven van de vorige monastieke bewoners van het gebouw.

GHENT: HOW TO LIVE TOGETHER

Dit event maakt deel uit van GHENT: HOW TO LIVE TOGETHER - a Season of Truth and Reconciliation.

Kunstenaar Grace Ndiritu onderzoekt (in samenwerking met Jubilee) hoe de site van het vroegere Caermersklooster, waar de belangen van de verschillende personen en organisaties die de site gebruiken of bezitten in conflict staan met elkaar, kan dienen als model voor de praktijk van ‘commoning’ of gemeenschappelijk gebruik.


Beeld:
Codex of Montecassino, Archivio dell'Abbazia

Volledig programma - a season of truth and reconciliation
READINGROOM1

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