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

24.01.2020 20:00

opening tentoonstelling

Pay what you can

JESSE JONES:
SYLLABUS

Opening: JESSE JONES - SYLLABUS
vrijdag 24 januari 2020, 20:00

Op 24 januari opent Kunsthal Gent met een nieuwe installatie van de Ierse kunstenaar Jesse Jones, getiteld Syllabus. Een monumentaal, 17m hoog semi-transparant gordijn met de arm en hand van de feministische wetenschapper Silvia Federici schept een nieuwe ruimte in Kunsthal Gent. De ruimte maakt plaats voor lokale (activistische) initiatieven en voor het lezen van een syllabus, waarin Silvia Federici en Jesse Jones teksten van verschillende auteurs bijeenbrengen. De tentoonstelling is een vertaling van een contract tussen Kunsthal Gent en de kunstenares over het gebruik van het werk en blijft zichtbaar zolang de condities van het contract worden nageleefd.

SYLLABUS bouwt verder op het eerder werk 'NO MORE FUN AND GAMES - Feminist Parasite Institution', gerealiseerd in de Hugh Lane gallery in Dublin in 2016.

Jesse Jones woont en werkt in Dublin en geeft les in beeldende kunst aan het CIT Crawford College of Art & Design in Cork. Haar praktijk kruist de media van film, performance en installatie. Ze werkt vaak in samenwerkingsstructuren en onderzoekt hoe historische voorbeelden van gemeenschappelijke cultuur een rol kunnen spelen in onze huidige sociale en politieke ervaringen. Recente tentoonstellingen en projecten omvatten onder meer het belangrijke nieuwe werk In the Shadow of the State, in opdracht van Artangel (UK) en Create met financiële steun van Ireland 2016, en gemaakt in samenwerking met kunstenaar Sarah Browne. Jesse Jones vertegenwoordigde Ierland op de Biënnale van Venetië in 2017. Tot maart 2020 presenteert het Guggenheim in Bilboa (ES) haar solotentoonstelling 'Temblad Temblad'.

MDC KH jessejones 017 HR