#132: Things will always look weird when you’re the first doing it.|#51: How do we invite the true unknown?|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#10: Don’t be obsessed with numbers.|#30: Don’t work with artists who are assholes.|#112: Spaces today don’t need to be curated, but occupied.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#4: Pay what you can.|#55: Keep basic human needs on the forefront.|#65: No excuses: Thursday morning, team meeting.|#59: Always protect the floor when painting (or pouring concrete)|#84: The White Cube is a lie.|#81: Things come alive when there is friction.|#117: Consider design, organisational structures and architecture as programme.|#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.|#16: Kunsthal Gent will always be a construction site.|#127: Remain practical: what happens to the work in an endless exhibition?|#90: The best systems have a failure or ‘a hole’ in them…|#40: Follow the artist|#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.|#137: Use the publication as programming space|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#89: Build-in impurity within the organisation.|#26: More artists, less borders.|#132: Things will always look weird when you’re the first doing it.|#51: How do we invite the true unknown?|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#10: Don’t be obsessed with numbers.|#30: Don’t work with artists who are assholes.|#112: Spaces today don’t need to be curated, but occupied.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#4: Pay what you can.|#55: Keep basic human needs on the forefront.|#65: No excuses: Thursday morning, team meeting.|#59: Always protect the floor when painting (or pouring concrete)|#84: The White Cube is a lie.|#81: Things come alive when there is friction.|#117: Consider design, organisational structures and architecture as programme.|#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.|#16: Kunsthal Gent will always be a construction site.|#127: Remain practical: what happens to the work in an endless exhibition?|#90: The best systems have a failure or ‘a hole’ in them…|#40: Follow the artist|#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.|#137: Use the publication as programming space|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#89: Build-in impurity within the organisation.|#26: More artists, less borders.|
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19.12.2019 17:00

lezing & presentatie

Pay what you can

KASK en PILOOT presenteren:
MIA IMANI HARRISON & Filip Van Dingenen

KASK en PILOOT public art platform presenteren:
Lezing & presentatie door MIA IMANI HARRISON in dialoog met Filip Van Dingenen

Donderdag 19 december, 17.00 uur
Kunsthal Gent (ingang via achterdeur Lange Steenstraat)

MIA IMANI HARRISON is een interdisciplinaire kunstenaar en schrijver uit de Pacific Northwest (VS) die momenteel in Berlijn woont. Harrison ondervraagt de manieren waarop gemeenschappen die hun rechten zijn kwijtgeraakt, individuele, gemeenschappelijke en maatschappelijke trauma's kunnen genezen door werken te creëren die het midden houden tussen kunst en wetenschap. Deze "derde weg" mengt onconventionele methoden (dromen, rituelen) en wetenschap (etnografie, aardrijkskunde, psychoanalyse) om gezamenlijk nieuwe manieren van zijn te kunnen dromen. https://www.miaiharrison.com

In het kader van de workshop 'TRANS PEDAGOGIES & ART PRACTICES, practicing in trouble and dealing with conflicting curiosities’ in KASK, onder leiding van Mia Harrison & Filip Van Dingenen/Ecole Mondiale

MIA I HARRISON