#56: Take a lunch break.|#98: The success of it will not lie in the result but in the process.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#21: Live with the exhibition, spend time with it.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#30: Don’t work with artists who are assholes.|#137: Use the publication as programming space|#124: Do less, do it better.|#32: Be pan-gender polyphonic.|#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.|#37: Operate with radical transparency.|#112: Spaces today don’t need to be curated, but occupied.|#105: Kunsthal Gent is local in scale, but globally connected.|#111: Do it together.|#2: Bring something new to the city of Ghent.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#61: No all male install teams.|#14: Can you also remain a toddler institution?|#10: Don’t be obsessed with numbers.|#68: Once in a while we need to get out of utopia and get something done.|#55: Keep basic human needs on the forefront.|#84: The White Cube is a lie.|#82: Clean and sterile looks professional, but really boring.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#91: Embrace doubt.|#132: Things will always look weird when you’re the first doing it.|#107: Build a community / scene.|#26: More artists, less borders.|#53: Immaterial support for artists is important.|#64: Arrange a distribution of forces.|#40: Follow the artist|#62: Don’t be a dick. Full dishwasher: empty it.|#81: Things come alive when there is friction.|#34: We pay artists.|#20: Are exhibitions the most suitable form for the art that we present?|#117: Consider design, organisational structures and architecture as programme.|#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.|#94: No objections? Just do it.|#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.|#29: We make the program for the artist that we exhibit.|#127: Remain practical: what happens to the work in an endless exhibition?|#28: Make Contracts.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#16: Kunsthal Gent will always be a construction site.|#89: Build-in impurity within the organisation.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#35: The artist fee should be good.|#74: Last one out turns of the lights.|#99: Evolve according to changing needs.|#4: Pay what you can.|#15: Kunsthal Gent aims to be an extension of public space.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#59: Always protect the floor when painting (or pouring concrete)|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#51: How do we invite the true unknown?|#6: Demand that visitors are active.|#119: Be a space of production.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#36: We support production separately.|#44: No name tags at dinner.|#39: Be the early stepping stone in an artist’s career|#90: The best systems have a failure or ‘a hole’ in them…|#19: Have fun at the exhibition.|#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|#17: An exhibition is never finished.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#54: What about disabled artists?|#65: No excuses: Thursday morning, team meeting.|#56: Take a lunch break.|#98: The success of it will not lie in the result but in the process.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#21: Live with the exhibition, spend time with it.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#30: Don’t work with artists who are assholes.|#137: Use the publication as programming space|#124: Do less, do it better.|#32: Be pan-gender polyphonic.|#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.|#37: Operate with radical transparency.|#112: Spaces today don’t need to be curated, but occupied.|#105: Kunsthal Gent is local in scale, but globally connected.|#111: Do it together.|#2: Bring something new to the city of Ghent.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#61: No all male install teams.|#14: Can you also remain a toddler institution?|#10: Don’t be obsessed with numbers.|#68: Once in a while we need to get out of utopia and get something done.|#55: Keep basic human needs on the forefront.|#84: The White Cube is a lie.|#82: Clean and sterile looks professional, but really boring.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#91: Embrace doubt.|#132: Things will always look weird when you’re the first doing it.|#107: Build a community / scene.|#26: More artists, less borders.|#53: Immaterial support for artists is important.|#64: Arrange a distribution of forces.|#40: Follow the artist|#62: Don’t be a dick. Full dishwasher: empty it.|#81: Things come alive when there is friction.|#34: We pay artists.|#20: Are exhibitions the most suitable form for the art that we present?|#117: Consider design, organisational structures and architecture as programme.|#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.|#94: No objections? Just do it.|#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.|#29: We make the program for the artist that we exhibit.|#127: Remain practical: what happens to the work in an endless exhibition?|#28: Make Contracts.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#16: Kunsthal Gent will always be a construction site.|#89: Build-in impurity within the organisation.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#35: The artist fee should be good.|#74: Last one out turns of the lights.|#99: Evolve according to changing needs.|#4: Pay what you can.|#15: Kunsthal Gent aims to be an extension of public space.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#59: Always protect the floor when painting (or pouring concrete)|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#51: How do we invite the true unknown?|#6: Demand that visitors are active.|#119: Be a space of production.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#36: We support production separately.|#44: No name tags at dinner.|#39: Be the early stepping stone in an artist’s career|#90: The best systems have a failure or ‘a hole’ in them…|#19: Have fun at the exhibition.|#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|#17: An exhibition is never finished.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#54: What about disabled artists?|#65: No excuses: Thursday morning, team meeting.|
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05.06.2020 20:00

Hosted by Other Women's Flowers, Jesse Jones, Sigrid Vertommen

Pay what you can

SYLLABUS READING GROUP #2:
Caliban and the Witch - Introduction

Syllabus reading group #2
Caliban and the Witch - introduction

5 juni 2020, 20- 22 uur (CET), in het Engels

Samen met de Gentse boekenclub Other Women's Flowers organiseert Kunsthal Gent een maandelijkse leesgroep rond het werk Syllabus van Jesse Jones (zie verderop.) Welkom op vrijdag 5 juni om 20 uur voor een live online lees- en collage sessie, van de eerste hoofdstukken uit 'Caliban and the Witch' van feministisch activiste Silvia Federici. Je bent van harte welkom om mee te lezen of te luisteren - ook als het je niet lukt om de tekst vooraf te lezen.

Deze sessie wordt begeleid door Other Women's Flowers, kunstenaar Jesse Jones en feministisch onderzoeker Sigrid Vertommen (UGent). Ook deze tweede sessie vindt online plaats, met live beelden vanuit het werk van Jesse Jones in Kunsthal Gent: de ruimte die wordt gevormd door een monumentaal gordijn met een beeld van de linkerarm van Silvia Federici, waar de leesgroep zou plaatsvinden als we niet in lockdown zouden zijn.

PRAKTISCH
Schrijf je in op info@kunsthal.gent: we sturen je een pdf van de tekst en een link naar de meeting. We lezen gezamenlijk het voorwoord (pp 7- 10) en de inleiding (pp 11-20).

ACHTERGROND
Silvia Federici is een feministe, auteur, docent en activiste. Haar onderzoek en politiek activisme gaan gepaard met een lange lijst publicaties over filosofie en feministische theorie, vrouwengeschiedenis, onderwijs, cultuur, internationale politiek, en de wereldwijde strijd tegen de kapitalistische globalisering en voor een feministische reconstructie van de commons.
Video: 8 minuten met Silvia Federici

Jesse Jones woont en werkt in Dublin en geeft les in beeldende kunst aan TU Dublin School of Creative Arts. Haar praktijk kruist de media film, performance en installatie. Ze werkt vaak in samenwerkingsstructuren en onderzoekt hoe historische voorbeelden van gemeenschappelijke cultuur een rol kunnen spelen in onze sociale en politieke ervaringen.

Other Women's Flowers is een bijenkorf, een boekenclub en een artistieke speeltuin. Het is ontstaan uit de wens om het geschreven werk van vrouwen te delen, te ontdekken en te bespreken, en dit op een feestelijke, speelse manier. Onze dinner meetings zijn een moment om literair enthousiasme te delen, te debatteren over hedendaagse uitdagingen en om solidariteit te overdenken, één boek tegelijk. Iedereen is welkom om deel te nemen aan de bijeenkomsten.

Sigrid Vertommen doet postdoctoraal onderzoek naar de politieke economie van wereldwijde vruchtbaarheidsketens aan de vakgroep Conflict- en Ontwikkelingsstudies van de Universiteit Gent. Ze onderzoekt de rol en de betrokkenheid van vrouwen in de bio-economie, als verkopers van eicellen en als draagmoeders, bezien vanuit reproductieve arbeid. In januari 2020 opende Jesse Jones' werk

Syllabus in Kunsthal Gent: een monumentaal gordijn dat, wanneer het wordt gebruikt, een groot deel van de ruimte vult met een beeld van de linkerarm van Silvia Federici. Zoals vastgelegd in een contract dat bij de opening werd getekend, blijft het werk 5 jaar lang in de tentoonstellingsruimte, op voorwaarde dat Kunsthal Gent een maandelijkse leesgroep of een gerelateerd event organiseert in de cirkelvormige ruimte die door het werk wordt gecreëerd. Het contract bepaalt dat ‘Evenementen indien nodig kunnen worden uitgesteld als gevolg van overmacht, zoals, maar niet beperkt tot, daden van God of de vijand, aardbeving, brand of overstroming, oproer, oorlog of burgerlijke onrust, beproevingen, onderzoeken, de pest, epidemieën of beschuldigingen van duivelse bezetenheid.’ Een facsimile van het contract is verkrijgbaar bij Kunsthal Gent.

Beeld: Jesse Jones, Syllabus (detail)

MDC KH jessejones 021 HR