#94: No objections? Just do it.|#55: Keep basic human needs on the forefront.|#117: Consider design, organisational structures and architecture as programme.|#10: Don’t be obsessed with numbers.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#59: Always protect the floor when painting (or pouring concrete)|#53: Immaterial support for artists is important.|#127: Remain practical: what happens to the work in an endless exhibition?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#68: Once in a while we need to get out of utopia and get something done.|#21: Live with the exhibition, spend time with it.|#107: Build a community / scene.|#39: Be the early stepping stone in an artist’s career|#61: No all male install teams.|#14: Can you also remain a toddler institution?|#112: Spaces today don’t need to be curated, but occupied.|#124: Do less, do it better.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#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|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#6: Demand that visitors are active.|#94: No objections? Just do it.|#55: Keep basic human needs on the forefront.|#117: Consider design, organisational structures and architecture as programme.|#10: Don’t be obsessed with numbers.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#59: Always protect the floor when painting (or pouring concrete)|#53: Immaterial support for artists is important.|#127: Remain practical: what happens to the work in an endless exhibition?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#68: Once in a while we need to get out of utopia and get something done.|#21: Live with the exhibition, spend time with it.|#107: Build a community / scene.|#39: Be the early stepping stone in an artist’s career|#61: No all male install teams.|#14: Can you also remain a toddler institution?|#112: Spaces today don’t need to be curated, but occupied.|#124: Do less, do it better.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#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|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#6: Demand that visitors are active.|
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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