#127: Remain practical: what happens to the work in an endless exhibition?|#94: No objections? Just do it.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#74: Last one out turns of the lights.|#15: Kunsthal Gent aims to be an extension of public space.|#26: More artists, less borders.|#117: Consider design, organisational structures and architecture as programme.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#2: Bring something new to the city of Ghent.|#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.|#81: Things come alive when there is friction.|#98: The success of it will not lie in the result but in the process.|#36: We support production separately.|#54: What about disabled artists?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#90: The best systems have a failure or ‘a hole’ in them…|#68: Once in a while we need to get out of utopia and get something done.|#53: Immaterial support for artists is important.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#65: No excuses: Thursday morning, team meeting.|#14: Can you also remain a toddler institution?|#51: How do we invite the true unknown?|#56: Take a lunch break.|#127: Remain practical: what happens to the work in an endless exhibition?|#94: No objections? Just do it.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#74: Last one out turns of the lights.|#15: Kunsthal Gent aims to be an extension of public space.|#26: More artists, less borders.|#117: Consider design, organisational structures and architecture as programme.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#2: Bring something new to the city of Ghent.|#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.|#81: Things come alive when there is friction.|#98: The success of it will not lie in the result but in the process.|#36: We support production separately.|#54: What about disabled artists?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#90: The best systems have a failure or ‘a hole’ in them…|#68: Once in a while we need to get out of utopia and get something done.|#53: Immaterial support for artists is important.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#65: No excuses: Thursday morning, team meeting.|#14: Can you also remain a toddler institution?|#51: How do we invite the true unknown?|#56: Take a lunch break.|
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16.11.2018 00:00

Pay what you can

Arno van Roosmalen:
Where is the Exhibition

Over een nieuwe, onderzoekende programma-opzet van Stroom Den Haag

Arno van Roosmalen licht zijn ideeën toe voor het nieuwe programmaformat van Stroom, "Where's the exhibition?". Doorgaans is een reeks tentoonstellingen de ruggengraat van het programma van een presentatie-instelling. Stroom zet de komende jaren in op 6 programmalijnen die voor een groot deel onderzoekend van aard zijn en waarmee de organisatie zich heroriënteert op de relatie met de omgeving, met kunstenaars en haar positie herijkt. De nieuwe ruggengraat wordt gevormd door een langdurige, ‘niet doelgerichte’ en intieme relatie met een kleine selectie kunstenaars met een maatschappelijk geëngageerde praktijk. Volgens Van Roosmalen zijn hedendaagse kunstorganisaties onvoldoende toegerust om dit soort praktijken effectief te bemiddelen. Stroom roept de tentoonstellingsmachine een halt toe en werkt toe naar een organisatie die inspanningen verricht om sterke verbindingen met maatschappelijke partijen tot stand te brengen.

Arno van Roosmalen is directeur van Stroom Den Haag