#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#14: Can you also remain a toddler institution?|#132: Things will always look weird when you’re the first doing it.|#127: Remain practical: what happens to the work in an endless exhibition?|#94: No objections? Just do it.|#32: Be pan-gender polyphonic.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#64: Arrange a distribution of forces.|#65: No excuses: Thursday morning, team meeting.|#59: Always protect the floor when painting (or pouring concrete)|#15: Kunsthal Gent aims to be an extension of public space.|#34: We pay artists.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#56: Take a lunch break.|#20: Are exhibitions the most suitable form for the art that we present?|#6: Demand that visitors are active.|#40: Follow the artist|#53: Immaterial support for artists is important.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#117: Consider design, organisational structures and architecture as programme.|#91: Embrace doubt.|#37: Operate with radical transparency.|#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.|#14: Can you also remain a toddler institution?|#132: Things will always look weird when you’re the first doing it.|#127: Remain practical: what happens to the work in an endless exhibition?|#94: No objections? Just do it.|#32: Be pan-gender polyphonic.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#64: Arrange a distribution of forces.|#65: No excuses: Thursday morning, team meeting.|#59: Always protect the floor when painting (or pouring concrete)|#15: Kunsthal Gent aims to be an extension of public space.|#34: We pay artists.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#56: Take a lunch break.|#20: Are exhibitions the most suitable form for the art that we present?|#6: Demand that visitors are active.|#40: Follow the artist|#53: Immaterial support for artists is important.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#117: Consider design, organisational structures and architecture as programme.|#91: Embrace doubt.|#37: Operate with radical transparency.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|
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07—08.05.2022 11:00

Presentatie - Studio Permanently Practising

Pay what you can

Elke Van Kerckvoorde:
Redefined Reflections

Een onderzoek naar het omzetten van materiele aspecten in het ambacht van Glas in Lood naar manuele drukmethodes

Elke Van Kerckvoorde (Gent 1992) studeerde aan Luca School of Arts te Gent (Master Beeldende Kunst 2014). Ze startte als schilder en verdiepte zich in verschillende grafische technieken, om zo de grens tussen beeldende kunst en ambacht op te zoeken. In 2019/2020 was ze resident in het Ontwikkelingsprogramma van Kunsthal Gent, met als doel om haar praktijk te verruimen met een onderzoek naar het ambachtelijke proces van glas in lood. Welke sfeer roept een glasraam op, wat is typerend voor dit oude ambacht? Op 7 en 8 mei (parallel aan de Ghent Art Book Fair 2022) deelt Elke Van Kerckvoorde de verschillende stappen die ze ontdekte om de karakteristieke elementen van glas in lood te kunnen vertalen naar drukwerk.

Ze onderzocht de vormen en transparantie van het glas, de lijnen van het lood, contrasten tussen licht/donker, positief/negatief, maar ook het aspect tijd (de veranderende stand van de zon) en het effect daarvan op de ruimte van Kunsthal Gent, onder meer in samenwerking met het ontwerpduo PutGootink. Deze elementen nam ze als basis voor het maken van manueel drukwerk en experimenteerde met manieren om ze te versterken via verschillendes drukprocedés. Met de hulp van stagiair Sarah de Laet werden verschillende druktechnieken (zeefdruk, risografie, loodzetsels, fotogrammen, digitale print, lasercut, vinylplots…) tot hun limieten uitgetest.

Locatie: Studio Permanently Practising
Ontwikkelingsprogramma Kunsthal Gent

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