#35: The artist fee should be good.|#98: The success of it will not lie in the result but in the process.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#10: Don’t be obsessed with numbers.|#36: We support production separately.|#51: How do we invite the true unknown?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#29: We make the program for the artist that we exhibit.|#84: The White Cube is a lie.|#94: No objections? Just do it.|#40: Follow the artist|#19: Have fun at the exhibition.|#26: More artists, less borders.|#17: An exhibition is never finished.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#6: Demand that visitors are active.|#37: Operate with radical transparency.|#16: Kunsthal Gent will always be a construction site.|#20: Are exhibitions the most suitable form for the art that we present?|#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.|#2: Bring something new to the city of Ghent.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#30: Don’t work with artists who are assholes.|#15: Kunsthal Gent aims to be an extension of public space.|#34: We pay artists.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#32: Be pan-gender polyphonic.|#4: Pay what you can.|#81: Things come alive when there is friction.|#55: Keep basic human needs on the forefront.|#127: Remain practical: what happens to the work in an endless exhibition?|#54: What about disabled artists?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#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|#119: Be a space of production.|#14: Can you also remain a toddler institution?|#92: We’re a learning organisation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#107: Build a community / scene.|#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.|#137: Use the publication as programming space|#112: Spaces today don’t need to be curated, but occupied.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#28: Make Contracts.|#117: Consider design, organisational structures and architecture as programme.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#62: Don’t be a dick. Full dishwasher: empty it.|#21: Live with the exhibition, spend time with it.|#65: No excuses: Thursday morning, team meeting.|#99: Evolve according to changing needs.|#44: No name tags at dinner.|#68: Once in a while we need to get out of utopia and get something done.|#105: Kunsthal Gent is local in scale, but globally connected.|#56: Take a lunch break.|#91: Embrace doubt.|#89: Build-in impurity within the organisation.|#124: Do less, do it better.|#74: Last one out turns of the lights.|#90: The best systems have a failure or ‘a hole’ in them…|#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.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#61: No all male install teams.|#59: Always protect the floor when painting (or pouring concrete)|#132: Things will always look weird when you’re the first doing it.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#53: Immaterial support for artists is important.|#111: Do it together.|#39: Be the early stepping stone in an artist’s career|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#64: Arrange a distribution of forces.|#35: The artist fee should be good.|#98: The success of it will not lie in the result but in the process.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#10: Don’t be obsessed with numbers.|#36: We support production separately.|#51: How do we invite the true unknown?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#29: We make the program for the artist that we exhibit.|#84: The White Cube is a lie.|#94: No objections? Just do it.|#40: Follow the artist|#19: Have fun at the exhibition.|#26: More artists, less borders.|#17: An exhibition is never finished.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#6: Demand that visitors are active.|#37: Operate with radical transparency.|#16: Kunsthal Gent will always be a construction site.|#20: Are exhibitions the most suitable form for the art that we present?|#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.|#2: Bring something new to the city of Ghent.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#30: Don’t work with artists who are assholes.|#15: Kunsthal Gent aims to be an extension of public space.|#34: We pay artists.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#32: Be pan-gender polyphonic.|#4: Pay what you can.|#81: Things come alive when there is friction.|#55: Keep basic human needs on the forefront.|#127: Remain practical: what happens to the work in an endless exhibition?|#54: What about disabled artists?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#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|#119: Be a space of production.|#14: Can you also remain a toddler institution?|#92: We’re a learning organisation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#107: Build a community / scene.|#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.|#137: Use the publication as programming space|#112: Spaces today don’t need to be curated, but occupied.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#28: Make Contracts.|#117: Consider design, organisational structures and architecture as programme.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#62: Don’t be a dick. Full dishwasher: empty it.|#21: Live with the exhibition, spend time with it.|#65: No excuses: Thursday morning, team meeting.|#99: Evolve according to changing needs.|#44: No name tags at dinner.|#68: Once in a while we need to get out of utopia and get something done.|#105: Kunsthal Gent is local in scale, but globally connected.|#56: Take a lunch break.|#91: Embrace doubt.|#89: Build-in impurity within the organisation.|#124: Do less, do it better.|#74: Last one out turns of the lights.|#90: The best systems have a failure or ‘a hole’ in them…|#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.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#61: No all male install teams.|#59: Always protect the floor when painting (or pouring concrete)|#132: Things will always look weird when you’re the first doing it.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#53: Immaterial support for artists is important.|#111: Do it together.|#39: Be the early stepping stone in an artist’s career|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#64: Arrange a distribution of forces.|
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07.08.20

Evenement

Syllabus Reading Group #4:
The Great Witch Hunt of Europe

Syllabus reading group #4: The Great Witch Hunt in Europe
7 augustus 2020, 20 - 22 uur, 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. Op vrijdag 7 augustus om 20 uur gaat de reading group opnieuw online door. We lezen 'The Great Witch Hunt in Europe' (pp. 163-179) uit 'Caliban and the Witch' van feministische activiste Silvia Federici. Je kan het woord nemen, of alleen luisteren - ook welkom als het niet lukt om de tekst vooraf te lezen. We lezen ongeveer een uur en bespreken daarna de tekst.

Deze sessie wordt begeleid door kunstenaar Jesse Jones, Other Women's Flowers en feministisch onderzoeker Sigrid Vertommen (UGent). Ook deze 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.

PRAKTISCH
Schrijf je in op info@kunsthal.gent en we sturen je een zoom link naar de meeting. Hier vind je de tekst, of hier in een andere versie. Hier vind je een bestaand audiofile van de eerste hoofdstukken.

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: Syllabus, Jesse Jones

MDC KH jessejones 017 HR

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