#15: Kunsthal Gent aims to be an extension of public space.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#82: Clean and sterile looks professional, but really boring.|#105: Kunsthal Gent is local in scale, but globally connected.|#28: Make Contracts.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#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.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#40: Follow the artist|#51: How do we invite the true unknown?|#16: Kunsthal Gent will always be a construction site.|#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.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#89: Build-in impurity within the organisation.|#90: The best systems have a failure or ‘a hole’ in them…|#98: The success of it will not lie in the result but in the process.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#4: Pay what you can.|#10: Don’t be obsessed with numbers.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#21: Live with the exhibition, spend time with it.|#64: Arrange a distribution of forces.|#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.|#61: No all male install teams.|#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.|#81: Things come alive when there is friction.|#111: Do it together.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#127: Remain practical: what happens to the work in an endless exhibition?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#53: Immaterial support for artists is important.|#91: Embrace doubt.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#107: Build a community / scene.|#6: Demand that visitors are active.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#94: No objections? Just do it.|#99: Evolve according to changing needs.|#55: Keep basic human needs on the forefront.|#39: Be the early stepping stone in an artist’s career|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#112: Spaces today don’t need to be curated, but occupied.|#132: Things will always look weird when you’re the first doing it.|#34: We pay artists.|#17: An exhibition is never finished.|#29: We make the program for the artist that we exhibit.|#119: Be a space of production.|#117: Consider design, organisational structures and architecture as programme.|#20: Are exhibitions the most suitable form for the art that we present?|#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|#124: Do less, do it better.|#19: Have fun at the exhibition.|#59: Always protect the floor when painting (or pouring concrete)|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#56: Take a lunch break.|#32: Be pan-gender polyphonic.|#137: Use the publication as programming space|#44: No name tags at dinner.|#92: We’re a learning organisation.|#74: Last one out turns of the lights.|#26: More artists, less borders.|#84: The White Cube is a lie.|#62: Don’t be a dick. Full dishwasher: empty it.|#37: Operate with radical transparency.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#68: Once in a while we need to get out of utopia and get something done.|#36: We support production separately.|#35: The artist fee should be good.|#65: No excuses: Thursday morning, team meeting.|#14: Can you also remain a toddler institution?|#54: What about disabled artists?|#2: Bring something new to the city of Ghent.|#15: Kunsthal Gent aims to be an extension of public space.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#82: Clean and sterile looks professional, but really boring.|#105: Kunsthal Gent is local in scale, but globally connected.|#28: Make Contracts.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#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.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#40: Follow the artist|#51: How do we invite the true unknown?|#16: Kunsthal Gent will always be a construction site.|#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.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#89: Build-in impurity within the organisation.|#90: The best systems have a failure or ‘a hole’ in them…|#98: The success of it will not lie in the result but in the process.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#4: Pay what you can.|#10: Don’t be obsessed with numbers.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#21: Live with the exhibition, spend time with it.|#64: Arrange a distribution of forces.|#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.|#61: No all male install teams.|#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.|#81: Things come alive when there is friction.|#111: Do it together.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#127: Remain practical: what happens to the work in an endless exhibition?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#53: Immaterial support for artists is important.|#91: Embrace doubt.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#107: Build a community / scene.|#6: Demand that visitors are active.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#94: No objections? Just do it.|#99: Evolve according to changing needs.|#55: Keep basic human needs on the forefront.|#39: Be the early stepping stone in an artist’s career|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#112: Spaces today don’t need to be curated, but occupied.|#132: Things will always look weird when you’re the first doing it.|#34: We pay artists.|#17: An exhibition is never finished.|#29: We make the program for the artist that we exhibit.|#119: Be a space of production.|#117: Consider design, organisational structures and architecture as programme.|#20: Are exhibitions the most suitable form for the art that we present?|#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|#124: Do less, do it better.|#19: Have fun at the exhibition.|#59: Always protect the floor when painting (or pouring concrete)|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#56: Take a lunch break.|#32: Be pan-gender polyphonic.|#137: Use the publication as programming space|#44: No name tags at dinner.|#92: We’re a learning organisation.|#74: Last one out turns of the lights.|#26: More artists, less borders.|#84: The White Cube is a lie.|#62: Don’t be a dick. Full dishwasher: empty it.|#37: Operate with radical transparency.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#68: Once in a while we need to get out of utopia and get something done.|#36: We support production separately.|#35: The artist fee should be good.|#65: No excuses: Thursday morning, team meeting.|#14: Can you also remain a toddler institution?|#54: What about disabled artists?|#2: Bring something new to the city of Ghent.|
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21.02.2020 20:00

project launch & dubbelinterview

Pay what you can

TWIIID presenteert:
What’s in a library?

Vrijdag 21.02.2020, 20:00
Twee-eiige Drieling (TWIIID)
presenteert: What’s in a library?
Project launch met een dubbel-interview tussen TWIIID & second shelf

Om het project ‘What’s in a Library?’ te lanceren, nodigt Twee-eiige Drieling (TWIIID) Heide Hinrichs, kunstenaar en initiator van second shelf uit voor een dubbelinterview. Ze gaan met elkaar in gesprek over het functioneren en de rol van een (specialistische) bibliotheek, over wijzen van samenstelling en pogingen om deze te herdenken, hercontextualiseren en activeren.

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What’s in a Library?
Kunsthal Gent geeft Twee-eiige Drieling tussen februari en mei de ruimte om het project ‘What’s in a Library?' aan te zwengelen. Twee-eiige Drieling selecteerde twintig werken die specifiek de nadruk leggen op juridische, socio-economische en/of artistieke vraagstukken die zich binnen of rondom, dankzij of ondanks een artistieke praktijk manifesteren. Ze gaan op zoek naar lezers om in deze verzameling ideeën, kritieken, interpretaties of referenties achter te laten. De achtergelaten opmerkingen worden gebundeld en vormen een appropriatie van het oorspronkelijke boek. De bibliotheek linkt zo actief statische literatuur aan de huidige juridische en socio-economische context. Een ‘uitleenformulier’ informeert naar de identiteit van de lezer en verleent het nieuw samengestelde boek provenance.

Contacteer TWIIID via ask@twiiid.be of wandel binnen op een zaterdag om een boek en discussie te reserveren.

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Twee-eiige Drieling werkt op verschillende manieren als juridisch klankbord voor de cultuursector. Hun bibliotheek speelt daarbij een grote rol. Tijdschriften, boeken en naslagwerken zijn niet alleen autoritaire bronnen voor adviezen, maar inspireren toekomstvisies en vormen (beleids)voorstellen. Daarom is het cruciaal deze verzameling continu tegen het licht te houden; diens ideologie te analyseren en op zoek te gaan naar blinde vlekken.

Het collaboratief onderzoeksproject second shelf verkent de mogelijkheden tot alternatieve canonvorming voor en in de bibliotheek van de Koninklijke Academie voor Schone Kunsten van Antwerpen. De kern van het project is het vormen van een nieuwe verzameling literatuur over het werk van vrouwelijke, niet-blanke en niet-heteroseksuele kunstenaars. Dit gaat gepaard met het blootleggen van de inherente netwerken, structuren en tendensen van de huidige samenstelling. Meer info: https://second-shelf.org/about/

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