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

01.05.2020 19:00

Hosted by Othe Women's Flowers, Jesse Jones, Sigrid Vertommen

Pay what you can

Syllabus reading group #1:
Joyful Militancy on the 1st of May

Joyful Militancy on the 1st of May
Syllabus reading group #1

1 mei 2020, 19 - 21 uur (CET)
in het Engels

Samen met de Gentse boekenclub Other Women's Flowers organiseert Kunsthal Gent een maandelijkse leesgroep rond het werk Syllabus van Jesse Jones (zie verderop.) Welkom op vrijdag 1 mei om 19 uur (CET) voor een live online lees- en collage sessie, van een aantal hoofdstukken uit 'Beyond the Periphery of the Skin' van feministisch activiste Silvia Federici.

Je bent van harte welkom om mee te lezen of te luisteren - ook als het je niet lukt om de tekst vooraf te lezen. Breng 3 tot 5 beelden mee van 'the body as a place of joyful resistance'. We zullen de beelden live invoegen tijdens het lezen van de tekst. Bedien jezelf met eten en wijn, en bereid je voor op 2 uur joyful militancy!

Deze sessie wordt begeleid door Other Women's Flowers, kunstenaar Jesse Jones en feministisch onderzoeker Sigrid Vertommen (UGent). Eén deelnemer zal ons vergezellen vanuit het werk van Jesse Jones in Kunsthal Gent: de ruimte die wordt gevormd door een monumentaal gordijn met een beeld van de linkerarm van Silvia Federici, waar de leesgroep zou plaatsvinden als we niet in lockdown zouden zijn.


PRAKTISCH

Schrijf je in op info@kunsthal.gent: we sturen je een pdf van de tekst en een link naar de meeting
(tot we een betere applicatie vinden om online samen te komen terwijl er beelden worden gedeeld, maken we gebruik van zoom).

We lezen de inleiding (pp 1-5); hoofdstuk 10 - In Praise of the Dancing Body (pp 119-124), en het nawoord - On Joyful Militancy (pp 125-128). Het boek is verkrijgbaar bij Kunsthal Gent of hier.


EXTRA ACHTERGROND

Boekbespreking:
"Silvia Federici laat zien hoe het kapitalisme ons lichaam heeft veroverd en stelt mogelijkheden voor om het terug te winnen en te herscheppen, om het heden te weerstaan en te anticiperen op voor de toekomst".

Video:
8 minuten met Silvia Federici

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.

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: Carla Besora, the Dance

Thedance