#89: Build-in impurity within the organisation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#20: Are exhibitions the most suitable form for the art that we present?|#105: Kunsthal Gent is local in scale, but globally connected.|#68: Once in a while we need to get out of utopia and get something done.|#36: We support production separately.|#51: How do we invite the true unknown?|#92: We’re a learning organisation.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#117: Consider design, organisational structures and architecture as programme.|#127: Remain practical: what happens to the work in an endless exhibition?|#94: No objections? Just do it.|#40: Follow the artist|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#37: Operate with radical transparency.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#53: Immaterial support for artists is important.|#81: Things come alive when there is friction.|#10: Don’t be obsessed with numbers.|#35: The artist fee should be good.|#91: Embrace doubt.|#14: Can you also remain a toddler institution?|#89: Build-in impurity within the organisation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#20: Are exhibitions the most suitable form for the art that we present?|#105: Kunsthal Gent is local in scale, but globally connected.|#68: Once in a while we need to get out of utopia and get something done.|#36: We support production separately.|#51: How do we invite the true unknown?|#92: We’re a learning organisation.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#117: Consider design, organisational structures and architecture as programme.|#127: Remain practical: what happens to the work in an endless exhibition?|#94: No objections? Just do it.|#40: Follow the artist|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#37: Operate with radical transparency.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#53: Immaterial support for artists is important.|#81: Things come alive when there is friction.|#10: Don’t be obsessed with numbers.|#35: The artist fee should be good.|#91: Embrace doubt.|#14: Can you also remain a toddler institution?|
