#94: No objections? Just do it.|#2: Bring something new to the city of Ghent.|#137: Use the publication as programming space|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#117: Consider design, organisational structures and architecture as programme.|#32: Be pan-gender polyphonic.|#74: Last one out turns of the lights.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#90: The best systems have a failure or ‘a hole’ in them…|#14: Can you also remain a toddler institution?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#17: An exhibition is never finished.|#26: More artists, less borders.|#124: Do less, do it better.|#35: The artist fee should be good.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#16: Kunsthal Gent will always be a construction site.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#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.|#34: We pay artists.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#30: Don’t work with artists who are assholes.|#64: Arrange a distribution of forces.|#56: Take a lunch break.|#94: No objections? Just do it.|#2: Bring something new to the city of Ghent.|#137: Use the publication as programming space|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#117: Consider design, organisational structures and architecture as programme.|#32: Be pan-gender polyphonic.|#74: Last one out turns of the lights.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#90: The best systems have a failure or ‘a hole’ in them…|#14: Can you also remain a toddler institution?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#17: An exhibition is never finished.|#26: More artists, less borders.|#124: Do less, do it better.|#35: The artist fee should be good.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#16: Kunsthal Gent will always be a construction site.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#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.|#34: We pay artists.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#30: Don’t work with artists who are assholes.|#64: Arrange a distribution of forces.|#56: Take a lunch break.|
Deze website maakt gebruik van cookies om uw gebruikservaring te verbeteren. Meer informatie

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