#89: Build-in impurity within the organisation.|#10: Don’t be obsessed with numbers.|#124: Do less, do it better.|#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.|#92: We’re a learning organisation.|#44: No name tags at dinner.|#4: Pay what you can.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#81: Things come alive when there is friction.|#36: We support production separately.|#107: Build a community / scene.|#64: Arrange a distribution of forces.|#34: We pay artists.|#65: No excuses: Thursday morning, team meeting.|#21: Live with the exhibition, spend time with it.|#55: Keep basic human needs on the forefront.|#61: No all male install teams.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#6: Demand that visitors are active.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#112: Spaces today don’t need to be curated, but occupied.|#127: Remain practical: what happens to the work in an endless exhibition?|#89: Build-in impurity within the organisation.|#10: Don’t be obsessed with numbers.|#124: Do less, do it better.|#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.|#92: We’re a learning organisation.|#44: No name tags at dinner.|#4: Pay what you can.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#81: Things come alive when there is friction.|#36: We support production separately.|#107: Build a community / scene.|#64: Arrange a distribution of forces.|#34: We pay artists.|#65: No excuses: Thursday morning, team meeting.|#21: Live with the exhibition, spend time with it.|#55: Keep basic human needs on the forefront.|#61: No all male install teams.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#6: Demand that visitors are active.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#112: Spaces today don’t need to be curated, but occupied.|#127: Remain practical: what happens to the work in an endless exhibition?|
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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