#39: Be the early stepping stone in an artist’s career|#35: The artist fee should be good.|#132: Things will always look weird when you’re the first doing it.|#81: Things come alive when there is friction.|#10: Don’t be obsessed with numbers.|#55: Keep basic human needs on the forefront.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#124: Do less, do it better.|#14: Can you also remain a toddler institution?|#56: Take a lunch break.|#65: No excuses: Thursday morning, team meeting.|#127: Remain practical: what happens to the work in an endless exhibition?|#28: Make Contracts.|#29: We make the program for the artist that we exhibit.|#26: More artists, less borders.|#82: Clean and sterile looks professional, but really boring.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#62: Don’t be a dick. Full dishwasher: empty it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#40: Follow the artist|#59: Always protect the floor when painting (or pouring concrete)|#89: Build-in impurity within the organisation.|#61: No all male install teams.|#17: An exhibition is never finished.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#84: The White Cube is a lie.|#16: Kunsthal Gent will always be a construction site.|#6: Demand that visitors are active.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#54: What about disabled artists?|#119: Be a space of production.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#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.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#107: Build a community / scene.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#19: Have fun at the exhibition.|#37: Operate with radical transparency.|#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|#15: Kunsthal Gent aims to be an extension of public space.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#32: Be pan-gender polyphonic.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#91: Embrace doubt.|#64: Arrange a distribution of forces.|#20: Are exhibitions the most suitable form for the art that we present?|#51: How do we invite the true unknown?|#30: Don’t work with artists who are assholes.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#53: Immaterial support for artists is important.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#112: Spaces today don’t need to be curated, but occupied.|#21: Live with the exhibition, spend time with it.|#44: No name tags at dinner.|#137: Use the publication as programming space|#90: The best systems have a failure or ‘a hole’ in them…|#34: We pay artists.|#99: Evolve according to changing needs.|#74: Last one out turns of the lights.|#4: Pay what you can.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#2: Bring something new to the city of Ghent.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#111: Do it together.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#117: Consider design, organisational structures and architecture as programme.|#36: We support production separately.|#98: The success of it will not lie in the result but in the process.|#105: Kunsthal Gent is local in scale, but globally connected.|#94: No objections? Just do it.|#68: Once in a while we need to get out of utopia and get something done.|#92: We’re a learning organisation.|#39: Be the early stepping stone in an artist’s career|#35: The artist fee should be good.|#132: Things will always look weird when you’re the first doing it.|#81: Things come alive when there is friction.|#10: Don’t be obsessed with numbers.|#55: Keep basic human needs on the forefront.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#124: Do less, do it better.|#14: Can you also remain a toddler institution?|#56: Take a lunch break.|#65: No excuses: Thursday morning, team meeting.|#127: Remain practical: what happens to the work in an endless exhibition?|#28: Make Contracts.|#29: We make the program for the artist that we exhibit.|#26: More artists, less borders.|#82: Clean and sterile looks professional, but really boring.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#62: Don’t be a dick. Full dishwasher: empty it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#40: Follow the artist|#59: Always protect the floor when painting (or pouring concrete)|#89: Build-in impurity within the organisation.|#61: No all male install teams.|#17: An exhibition is never finished.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#84: The White Cube is a lie.|#16: Kunsthal Gent will always be a construction site.|#6: Demand that visitors are active.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#54: What about disabled artists?|#119: Be a space of production.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#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.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#107: Build a community / scene.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#19: Have fun at the exhibition.|#37: Operate with radical transparency.|#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|#15: Kunsthal Gent aims to be an extension of public space.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#32: Be pan-gender polyphonic.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#91: Embrace doubt.|#64: Arrange a distribution of forces.|#20: Are exhibitions the most suitable form for the art that we present?|#51: How do we invite the true unknown?|#30: Don’t work with artists who are assholes.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#53: Immaterial support for artists is important.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#112: Spaces today don’t need to be curated, but occupied.|#21: Live with the exhibition, spend time with it.|#44: No name tags at dinner.|#137: Use the publication as programming space|#90: The best systems have a failure or ‘a hole’ in them…|#34: We pay artists.|#99: Evolve according to changing needs.|#74: Last one out turns of the lights.|#4: Pay what you can.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#2: Bring something new to the city of Ghent.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#111: Do it together.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#117: Consider design, organisational structures and architecture as programme.|#36: We support production separately.|#98: The success of it will not lie in the result but in the process.|#105: Kunsthal Gent is local in scale, but globally connected.|#94: No objections? Just do it.|#68: Once in a while we need to get out of utopia and get something done.|#92: We’re a learning organisation.|
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06.12.2019 20:00

Curated by Grace Ndiritu, with Ryan Hughes and Kathrin Böhm

Pay what you can

Pay What You Can:
The new art economy

PAY WHAT YOU CAN: THE NEW ART ECONOMY
samengesteld door Grace Ndiritu


Vrijdag 6 december
Kunsthal Gent


Deel 1: 17:00 - 19:00 uur: PWYC workshop - 30 plaatsen, schrijf je hier in!
Deel 2: 20:00 - 22:00 uur: PWYC presentaties en discussie - inschrijven niet nodig, allen welkom (voertaal Engels)

PAY WHAT YOU CAN: THE NEW ART ECONOMY
In een context van slinkende middelen is de financiering van de kunsten de eerste die wordt gekort. Grace Ndiritu stelt - als een daad van solidariteit - dat, PAY WAT YOU CAN zou kunnen uitgroeien tot The New Art Economy. Met de huidige economische druk waarmee individuele kunstenaars, non-profit instellingen, kunstscholen, kleine en middelgrote commerciële galeries worden geconfronteerd, is het steeds belangrijker om nieuwe economische en sociale strategieën te vinden om te overleven en te bloeien. Hoe kan PAY WHAT YOU CAN een duurzame realiteit worden? Deze eendaagse bijeenkomst biedt kunstprofessionals, kunststudenten en publiek de kans om nieuwe economische modellen te leren kennen en te debatteren over deze complexe kwestie.

Deel 1: vrijdag 6 december, 17:00 - 19:00 uur
PWYC workshop: THE NEW ART ECONOMY
- Korte inleiding door kunstenaar Grace Ndiritu over haar PAY WHAT YOU CAN project ‘Coverslut’, gevolgd door een PAY WHAT YOU CAN meditatieritueel
- Werksessie in kleine groepjes voor solidaire PAY WHAT YOU CAN oplossingen
30 plaatse
n - schrijf je hier in!

Deel 2: vrijdag 6 december, 20:00 tot 22:00 uur
PWYC case studies: presentaties en discussie
Kunstenaar Kathrin Böhm (Londen) vertelt over haar 'Centre for Plausible Economics' en het gebruik van verschillende economische modellen in haar verschillende projecten zoals 'Company Drinks'. Curator Ryan Hughes vertelt over de Biënnale van Coventry (2019) en het gebruik van PWYC in zijn economisch model in de biënnale van dit jaar. Gemodereerd door Grace Ndiritu. In het Engels, allen welkom.


Sprekers

Grace Ndiritu
COVERSLUT© is een mode- en economisch onderzoeksproject van Grace Ndiritu, opgericht in 2018. Het richt zich op de aanpak van kwesties rond ras, gender en klassenpolitiek en integreert kapitalistische, PAY WHAT YOU CAN en ethische/ecologische strategieën in haar economische model. De eerste editie van het project werd afgerond in samenwerking met het Gentse textielatelier Manoeuvre, dat door kunstenaars wordt geleid. COVERSLUT© Pop-Up Stores en evenementen vonden tot op heden plaats in Minus One, Gent (2019); Poppositions artfair, Brussel (2019); Eastside Projects, UK (2018); De Koer, Gent (2018 & 2019), collectie beschikbaar in Contemporary Art Gallery, Vancouver (2018) & Wiels Art Centre, Brussel (2019). Ndiritu's gebruik van PAY WAT YOU CAN als een daad van solidariteit in haar eigen kunstpraktijk heeft reeds verschillende kunstinstellingen beïnvloed, waaronder Eastside Projects, Birmingham, Kunsthal Gent en Coventry Biennale 2019 - om een Pay What You Can beleid te voeren dat geïnspireerd is door haar ideeën over institutionele kritiek en structurele verandering.

Ryan Hughes
Ryan Hughes is een kunstenaar/curator uit de West Midlands (UK). Hij is vooral geïnteresseerd in samenwerkings- en participatiepraktijken, online cultuur en wat wordt omschreven als het "post-internet". Hij heeft gewerkt in verschillende door kunstenaars geleide, institutionele en niet-kunstmatige ruimtes, waaronder MK Gallery, ICA London, Vivid Projects en A3 Project Space, alsook met lokale overheden en universiteiten. In 2017 richtte hij Coventry Biennale op, een nieuw model voor een door kunstenaars geleide en sociale biënnale, die heeft bijgedragen aan de status van de stad als UK City of Culture 2021.

Kathrin Böhm
Kathrin Böhm is een in Londen gevestigde kunstenaar. Haar samenwerkingsprojecten richten zich op de collectieve (re)productie van de publieke ruimte, handel als publieke ruimte en het alledaagse als uitgangspunt voor cultuur. Kathrin is stichtend lid van het kunstenaars/politieke initiatief Keep it Complex - Make it Clear (KIC), het Centre for Plausible Economies en de artistieke onderneming enterprise Company Drinks in 2014.

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