#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#15: Kunsthal Gent aims to be an extension of public space.|#61: No all male install teams.|#65: No excuses: Thursday morning, team meeting.|#64: Arrange a distribution of forces.|#10: Don’t be obsessed with numbers.|#32: Be pan-gender polyphonic.|#37: Operate with radical transparency.|#112: Spaces today don’t need to be curated, but occupied.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#94: No objections? Just do it.|#6: Demand that visitors are active.|#56: Take a lunch break.|#82: Clean and sterile looks professional, but really boring.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#54: What about disabled artists?|#17: An exhibition is never finished.|#19: Have fun at the exhibition.|#4: Pay what you can.|#119: Be a space of production.|#84: The White Cube is a lie.|#26: More artists, less borders.|#91: Embrace doubt.|#137: Use the publication as programming space|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#15: Kunsthal Gent aims to be an extension of public space.|#61: No all male install teams.|#65: No excuses: Thursday morning, team meeting.|#64: Arrange a distribution of forces.|#10: Don’t be obsessed with numbers.|#32: Be pan-gender polyphonic.|#37: Operate with radical transparency.|#112: Spaces today don’t need to be curated, but occupied.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#94: No objections? Just do it.|#6: Demand that visitors are active.|#56: Take a lunch break.|#82: Clean and sterile looks professional, but really boring.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#54: What about disabled artists?|#17: An exhibition is never finished.|#19: Have fun at the exhibition.|#4: Pay what you can.|#119: Be a space of production.|#84: The White Cube is a lie.|#26: More artists, less borders.|#91: Embrace doubt.|#137: Use the publication as programming space|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|
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07.11.2019 19:00

curatorial lecture series 'Working with Collections'

Pay what you can

curatorial studies presents:
MATHIEU COPELAND

Welkom voor de eerste Curatorial Lecture in de 2019-20 serie over het thema Working with Collections, door de Londense curator en uitgever

MATHIEU COPELAND

In Kunsthal Gent, 19:00 - 21:00 uur


--- Gratis, allen welkom
--- Engels gesproken

Als curator ontwikkelde Mathieu Copeland een praktijk die de traditionele rol van tentoonstellingen wil ondermijnen en onze perceptie van tentoonstellingen wil vernieuwen.

Hij was mede-auteur van de tentoonstelling "VOIDS, A Retrospective" (2009) in het Centre Pompidou, Parijs, en Kunsthalle, Bern, en stelde de bijbehorende bundel VOIDS samen.

Tot zijn recente tentoonstellingen behoren "A Retrospective of Closed Exhibitions" in de Kunsthalle Fribourg (2016) en "The exhibition of a film" (2014), een tentoonstelling als speelfilm voor in de bioscoop.

Copeland was de redacteur van de veelgeprezen uitgave en manifest "Choreographing Exhibitions" (2013). In 2017 was hij mede-auteur van "The Anti-Museum" (FRI ART / Koenig Books). Zijn meest recente uitgave - "Gustav Metzger: Writings" (JRP | Editions, 2019) - verschijnt deze maand.

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Elk academiejaar organiseren S.M.A.K., Universiteit Gent en Curatorial Studies aan KASK-School of Arts Gent samen de prestigieuze reeks Curatorial Lectures, met gerenommeerde curatoren en met betrekking tot een specifiek thema. Na "Working with Artists" (2017-18) en "Learning from Artists" (2018-19), gaat het thema van dit jaar in op de curatoriële uitdagingen van cureren in de context van publieke en private collecties.

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