#111: Do it together.|#91: Embrace doubt.|#74: Last one out turns of the lights.|#10: Don’t be obsessed with numbers.|#99: Evolve according to changing needs.|#124: Do less, do it better.|#37: Operate with radical transparency.|#90: The best systems have a failure or ‘a hole’ in them…|#21: Live with the exhibition, spend time with it.|#4: Pay what you can.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#28: Make Contracts.|#35: The artist fee should be good.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#137: Use the publication as programming space|#59: Always protect the floor when painting (or pouring concrete)|#40: Follow the artist|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#53: Immaterial support for artists is important.|#16: Kunsthal Gent will always be a construction site.|#32: Be pan-gender polyphonic.|#89: Build-in impurity within the organisation.|#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.|#127: Remain practical: what happens to the work in an endless exhibition?|#111: Do it together.|#91: Embrace doubt.|#74: Last one out turns of the lights.|#10: Don’t be obsessed with numbers.|#99: Evolve according to changing needs.|#124: Do less, do it better.|#37: Operate with radical transparency.|#90: The best systems have a failure or ‘a hole’ in them…|#21: Live with the exhibition, spend time with it.|#4: Pay what you can.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#28: Make Contracts.|#35: The artist fee should be good.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#137: Use the publication as programming space|#59: Always protect the floor when painting (or pouring concrete)|#40: Follow the artist|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#53: Immaterial support for artists is important.|#16: Kunsthal Gent will always be a construction site.|#32: Be pan-gender polyphonic.|#89: Build-in impurity within the organisation.|#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.|#127: Remain practical: what happens to the work in an endless exhibition?|
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29.10.2019 18:30

Pay what you can

MINIMA DOCTA - DEBAT

MINIMA DOCTA - DEBAT

turkye and thailand: THE AUTHORITARIAN EXAMPLES NOT TO FOLLOW
sara fabbri & CLAUDIO SOPRANZETTI ‘Il re di bangkok’ (graphic novel)
ece temelkuran ‘how to loose a country’ (NON FICTION)

moderator: Jeroen Laureyns

Kunsthal Gent, 18:30 - 20:30
taal: Engels

De moderne kunst ontstaat op het moment dat de kunstenaar beslist om niet langer de macht te dienen, maar tegen te spreken. Dat was zo in de 19de eeuw toen de Franse kunstenaar Honoré Daumier het in een spotprent opnam tegen de Franse koning en de gevangenis in vloog.

Dat is vandaag nog altijd zo, wanneer een schrijver (Claudio Sopranzetti) en een tekenaar (Sara Fabbri) het in hun graphic novel ‘Il Re di Bangkok’ opnemen tegen de militaire dictatuur in Thailand die haar tegenstanders tot in het buitenland volgt en vermoordt. Claudio en Sara lichten die dramatische recente Thaise geschiedenis toe en vertellen hoe ze die samenwerking tussen een academische schrijver en een illustrator tot stand hebben gebracht.

In het tweede luik van deze avond is ook de Turkse schrijfster Ece Temelkuran te gast, die in haar boek ‘Verloren Land’ uitlegt hoe elk land in zeven stappen van een democratie naar een dictatuur kan afglijden. Tot slot gaan onze drie gasten van deze avond met elkaar in dialoog.

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