#54: What about disabled artists?|#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.|#81: Things come alive when there is friction.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#40: Follow the artist|#94: No objections? Just do it.|#84: The White Cube is a lie.|#53: Immaterial support for artists is important.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#19: Have fun at the exhibition.|#29: We make the program for the artist that we exhibit.|#99: Evolve according to changing needs.|#16: Kunsthal Gent will always be a construction site.|#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.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#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.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#124: Do less, do it better.|#91: Embrace doubt.|#6: Demand that visitors are active.|#37: Operate with radical transparency.|#64: Arrange a distribution of forces.|#74: Last one out turns of the lights.|#54: What about disabled artists?|#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.|#81: Things come alive when there is friction.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#40: Follow the artist|#94: No objections? Just do it.|#84: The White Cube is a lie.|#53: Immaterial support for artists is important.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#19: Have fun at the exhibition.|#29: We make the program for the artist that we exhibit.|#99: Evolve according to changing needs.|#16: Kunsthal Gent will always be a construction site.|#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.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#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.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#124: Do less, do it better.|#91: Embrace doubt.|#6: Demand that visitors are active.|#37: Operate with radical transparency.|#64: Arrange a distribution of forces.|#74: Last one out turns of the lights.|
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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