#32: Be pan-gender polyphonic.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#99: Evolve according to changing needs.|#127: Remain practical: what happens to the work in an endless exhibition?|#90: The best systems have a failure or ‘a hole’ in them…|#17: An exhibition is never finished.|#91: Embrace doubt.|#4: Pay what you can.|#14: Can you also remain a toddler institution?|#117: Consider design, organisational structures and architecture as programme.|#94: No objections? Just do it.|#54: What about disabled artists?|#44: No name tags at dinner.|#65: No excuses: Thursday morning, team meeting.|#68: Once in a while we need to get out of utopia and get something done.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#137: Use the publication as programming space|#62: Don’t be a dick. Full dishwasher: empty it.|#10: Don’t be obsessed with numbers.|#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.|#92: We’re a learning organisation.|#84: The White Cube is a lie.|#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|#2: Bring something new to the city of Ghent.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#82: Clean and sterile looks professional, but really boring.|#132: Things will always look weird when you’re the first doing it.|#39: Be the early stepping stone in an artist’s career|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#74: Last one out turns of the lights.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#107: Build a community / scene.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#55: Keep basic human needs on the forefront.|#81: Things come alive when there is friction.|#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.|#124: Do less, do it better.|#61: No all male install teams.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#105: Kunsthal Gent is local in scale, but globally connected.|#21: Live with the exhibition, spend time with it.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#59: Always protect the floor when painting (or pouring concrete)|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#111: Do it together.|#64: Arrange a distribution of forces.|#112: Spaces today don’t need to be curated, but occupied.|#34: We pay artists.|#19: Have fun at the exhibition.|#30: Don’t work with artists who are assholes.|#29: We make the program for the artist that we exhibit.|#20: Are exhibitions the most suitable form for the art that we present?|#36: We support production separately.|#37: Operate with radical transparency.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#89: Build-in impurity within the organisation.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#56: Take a lunch break.|#53: Immaterial support for artists is important.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#15: Kunsthal Gent aims to be an extension of public space.|#40: Follow the artist|#28: Make Contracts.|#35: The artist fee should be good.|#26: More artists, less borders.|#98: The success of it will not lie in the result but in the process.|#16: Kunsthal Gent will always be a construction site.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#51: How do we invite the true unknown?|#119: Be a space of production.|#6: Demand that visitors are active.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#32: Be pan-gender polyphonic.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#99: Evolve according to changing needs.|#127: Remain practical: what happens to the work in an endless exhibition?|#90: The best systems have a failure or ‘a hole’ in them…|#17: An exhibition is never finished.|#91: Embrace doubt.|#4: Pay what you can.|#14: Can you also remain a toddler institution?|#117: Consider design, organisational structures and architecture as programme.|#94: No objections? Just do it.|#54: What about disabled artists?|#44: No name tags at dinner.|#65: No excuses: Thursday morning, team meeting.|#68: Once in a while we need to get out of utopia and get something done.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#137: Use the publication as programming space|#62: Don’t be a dick. Full dishwasher: empty it.|#10: Don’t be obsessed with numbers.|#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.|#92: We’re a learning organisation.|#84: The White Cube is a lie.|#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|#2: Bring something new to the city of Ghent.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#82: Clean and sterile looks professional, but really boring.|#132: Things will always look weird when you’re the first doing it.|#39: Be the early stepping stone in an artist’s career|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#74: Last one out turns of the lights.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#107: Build a community / scene.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#55: Keep basic human needs on the forefront.|#81: Things come alive when there is friction.|#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.|#124: Do less, do it better.|#61: No all male install teams.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#105: Kunsthal Gent is local in scale, but globally connected.|#21: Live with the exhibition, spend time with it.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#59: Always protect the floor when painting (or pouring concrete)|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#111: Do it together.|#64: Arrange a distribution of forces.|#112: Spaces today don’t need to be curated, but occupied.|#34: We pay artists.|#19: Have fun at the exhibition.|#30: Don’t work with artists who are assholes.|#29: We make the program for the artist that we exhibit.|#20: Are exhibitions the most suitable form for the art that we present?|#36: We support production separately.|#37: Operate with radical transparency.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#89: Build-in impurity within the organisation.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#56: Take a lunch break.|#53: Immaterial support for artists is important.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#15: Kunsthal Gent aims to be an extension of public space.|#40: Follow the artist|#28: Make Contracts.|#35: The artist fee should be good.|#26: More artists, less borders.|#98: The success of it will not lie in the result but in the process.|#16: Kunsthal Gent will always be a construction site.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#51: How do we invite the true unknown?|#119: Be a space of production.|#6: Demand that visitors are active.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|
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01.05.2021 11:00

Artist talks, panels, exhibition

Pay what you can

Cairography Collective, Sarma/Oral Site & HaRaKa:
Touching publication

Touching publication. Onafhankelijke publicatie-initiatieven in de kunst en hun agenda's

"Publiceren is aanraken", zei choreografe en redacteur Lisa Nelson ooit over de noodzaak achter grass-root publicatie-initiatieven om uit te reiken naar lezers als een gemeenschapsvormende onderneming, een politiek gebaar.

Een dag lang slaan Cairography Collective, Sarma/Oral Site en HaRaKa de handen in elkaar. De drie organisaties, die al vaker samenwerkten, leggen de agenda's bloot achter verschillende recente publicatie-projecten, hun formats, bekommernissen en tastbare uitkomsten.

Volgende vragen leiden hen hierbij: hoe kunnen we inbreken in consensusvorming rond aesthetica's, hoe democratiseren we de instrumenten en middelen voor een beter toegang tot het publiceren, wat houdt het 'publieke' aspect van de publicatie in terwijl toenemende censuur en marktmechanismen het terrein almaar verder verbrokkelen, en hoe kan het 'orale' of 'orale overlevering' een rol spelen in een grotere polyfonie voorbij het dictaat van het schrift.