#21: Live with the exhibition, spend time with it.|#55: Keep basic human needs on the forefront.|#98: The success of it will not lie in the result but in the process.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#35: The artist fee should be good.|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#107: Build a community / scene.|#91: Embrace doubt.|#51: How do we invite the true unknown?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#16: Kunsthal Gent will always be a construction site.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#44: No name tags at dinner.|#32: Be pan-gender polyphonic.|#124: Do less, do it better.|#14: Can you also remain a toddler institution?|#56: Take a lunch break.|#89: Build-in impurity within the organisation.|#40: Follow the artist|#37: Operate with radical transparency.|#82: Clean and sterile looks professional, but really boring.|#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.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#65: No excuses: Thursday morning, team meeting.|#119: Be a space of production.|#53: Immaterial support for artists is important.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#137: Use the publication as programming space|#127: Remain practical: what happens to the work in an endless exhibition?|#39: Be the early stepping stone in an artist’s career|#62: Don’t be a dick. Full dishwasher: empty it.|#20: Are exhibitions the most suitable form for the art that we present?|#61: No all male install teams.|#28: Make Contracts.|#30: Don’t work with artists who are assholes.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#26: More artists, less borders.|#90: The best systems have a failure or ‘a hole’ in them…|#10: Don’t be obsessed with numbers.|#74: Last one out turns of the lights.|#92: We’re a learning organisation.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#4: Pay what you can.|#117: Consider design, organisational structures and architecture as programme.|#111: Do it together.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#54: What about disabled artists?|#68: Once in a while we need to get out of utopia and get something done.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#36: We support production separately.|#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|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#2: Bring something new to the city of Ghent.|#64: Arrange a distribution of forces.|#94: No objections? Just do it.|#99: Evolve according to changing needs.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#19: Have fun at the exhibition.|#29: We make the program for the artist that we exhibit.|#17: An exhibition is never finished.|#34: We pay artists.|#132: Things will always look weird when you’re the first doing it.|#81: Things come alive when there is friction.|#105: Kunsthal Gent is local in scale, but globally connected.|#112: Spaces today don’t need to be curated, but occupied.|#15: Kunsthal Gent aims to be an extension of public space.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#6: Demand that visitors are active.|#59: Always protect the floor when painting (or pouring concrete)|#84: The White Cube is a lie.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#21: Live with the exhibition, spend time with it.|#55: Keep basic human needs on the forefront.|#98: The success of it will not lie in the result but in the process.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#35: The artist fee should be good.|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#107: Build a community / scene.|#91: Embrace doubt.|#51: How do we invite the true unknown?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#16: Kunsthal Gent will always be a construction site.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#44: No name tags at dinner.|#32: Be pan-gender polyphonic.|#124: Do less, do it better.|#14: Can you also remain a toddler institution?|#56: Take a lunch break.|#89: Build-in impurity within the organisation.|#40: Follow the artist|#37: Operate with radical transparency.|#82: Clean and sterile looks professional, but really boring.|#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.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#65: No excuses: Thursday morning, team meeting.|#119: Be a space of production.|#53: Immaterial support for artists is important.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#137: Use the publication as programming space|#127: Remain practical: what happens to the work in an endless exhibition?|#39: Be the early stepping stone in an artist’s career|#62: Don’t be a dick. Full dishwasher: empty it.|#20: Are exhibitions the most suitable form for the art that we present?|#61: No all male install teams.|#28: Make Contracts.|#30: Don’t work with artists who are assholes.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#26: More artists, less borders.|#90: The best systems have a failure or ‘a hole’ in them…|#10: Don’t be obsessed with numbers.|#74: Last one out turns of the lights.|#92: We’re a learning organisation.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#4: Pay what you can.|#117: Consider design, organisational structures and architecture as programme.|#111: Do it together.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#54: What about disabled artists?|#68: Once in a while we need to get out of utopia and get something done.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#36: We support production separately.|#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|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#2: Bring something new to the city of Ghent.|#64: Arrange a distribution of forces.|#94: No objections? Just do it.|#99: Evolve according to changing needs.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#19: Have fun at the exhibition.|#29: We make the program for the artist that we exhibit.|#17: An exhibition is never finished.|#34: We pay artists.|#132: Things will always look weird when you’re the first doing it.|#81: Things come alive when there is friction.|#105: Kunsthal Gent is local in scale, but globally connected.|#112: Spaces today don’t need to be curated, but occupied.|#15: Kunsthal Gent aims to be an extension of public space.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#6: Demand that visitors are active.|#59: Always protect the floor when painting (or pouring concrete)|#84: The White Cube is a lie.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|
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11.12.2020 20:00

Online reading group / dinner

Pay what you can

Syllabus Reading Group #6:
Hope In The Dark

Vrijdag, 11 december 2020, 20.00 - 21.30 uur

Welkom voor een informele online editie van de Syllabus Reading Group. We sluiten we het eerste jaar af van de leesgroep af met een diner, lezen tekstfragmenten van Rebecca Solnit, Audre Lorde, Amiri Baraka, Silvia Federici - en nodigen je uit om een tekst of een gedicht mee te brengen dat ons eraan herinnert dat poëzie een politieke daad kan zijn. Gewoon meeluisteren kan ook, inschrijven kan hier.

In haar recente lezing in Gent herinnerde Silvia Federici ons aan de noodzaak ‘to reconnect with those who struggled before us’, om opnieuw verbinding te maken met het lichaam, met de natuur, met de geschiedenis. Daarom beginnen we de avond met een fragment uit Rebecca Solnit's essay Hope in the Dark. Via ‘untold histories’ van demonstranten, schrijvers en arbeiders van het midden van de 20e eeuw tot nu, kijkt Solnit terug op het verleden en stelt dat hoop een katalysator is voor actie. Ze verbindt politieke actie aan poëzie en eindigt het essay met de metafoor van het roeien:

“You row forward looking back, and telling this history is part of helping people navigate toward the future. We need a litany, a rosary, a sutra, a mantra, a war chant for our victories. The past is set in daylight, and it can become a torch we can carry into the night that is the future.”

PRAKTISCH

De Reading group vindt online plaats via Zoom. SCHRIJF JE HIER IN en je ontvangt een zoomlink via e-mail. De voertaal is Engels. Contact: danielle@kunsthal.gent

ACHTERGROND

Kunsthal Gent organiseert de Syllabus Reading Group rond het werk 'Syllabus' van de Ierse kunstenaar Jesse Jones: een monumentaal gordijn met de arm van Silvia Federici, dat een ruimte creëert voor (activistische) bijeenkomsten. In samenwerking met Jesse Jones, Carla Besora, Elien Ronse en Sigrid Vertommen.

Silvia Federici is een feministe, auteur, docent en activiste. Haar onderzoek en politiek activisme gaan gepaard met een lange lijst publicaties over filosofie en feministische theorie, vrouwengeschiedenis, onderwijs, cultuur, internationale politiek, en de wereldwijde strijd tegen de kapitalistische globalisering en voor een feministische reconstructie van de commons.
Video: 8 minuten met Silvia Federici

Jesse Jones woont en werkt in Dublin en geeft les in beeldende kunst aan TU Dublin School of Creative Arts. Haar praktijk kruist de media film, performance en installatie. Ze werkt vaak in samenwerkingsstructuren en onderzoekt hoe historische voorbeelden van gemeenschappelijke cultuur een rol kunnen spelen in onze sociale en politieke ervaringen.

Other Women's Flowers is een bijenkorf, een boekenclub en een artistieke speeltuin. Het is ontstaan uit de wens om het geschreven werk van vrouwen te delen, te ontdekken en te bespreken, en dit op een feestelijke, speelse manier. Onze dinner meetings zijn een moment om literair enthousiasme te delen, te debatteren over hedendaagse uitdagingen en om solidariteit te overdenken, één boek tegelijk. Iedereen is welkom om deel te nemen aan de bijeenkomsten.

Sigrid Vertommen doet postdoctoraal onderzoek naar de politieke economie van wereldwijde vruchtbaarheidsketens aan de vakgroep Conflict- en Ontwikkelingsstudies van de Universiteit Gent. Ze onderzoekt de rol en de betrokkenheid van vrouwen in de bio-economie, als verkopers van eicellen en als draagmoeders, bezien vanuit reproductieve arbeid.

In januari 2020 opende Jesse Jones' werk Syllabus in Kunsthal Gent: een monumentaal gordijn dat, wanneer het wordt gebruikt, een groot deel van de ruimte vult met een beeld van de linkerarm van Silvia Federici. Zoals vastgelegd in een contract dat bij de opening werd getekend, blijft het werk 5 jaar lang in de tentoonstellingsruimte, op voorwaarde dat Kunsthal Gent een maandelijkse leesgroep of een gerelateerd event organiseert in de cirkelvormige ruimte die door het werk wordt gecreëerd. Het contract bepaalt dat ‘Evenementen indien nodig kunnen worden uitgesteld als gevolg van overmacht, zoals, maar niet beperkt tot, daden van God of de vijand, aardbeving, brand of overstroming, oproer, oorlog of burgerlijke onrust, beproevingen, onderzoeken, de pest, epidemieën of beschuldigingen van duivelse bezetenheid.’ Een facsimile van het contract is verkrijgbaar bij Kunsthal Gent.

Beeld: Syllabus, Jesse Jones

MDC KH jessejones 017 HR

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