#4: Pay what you can.|#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.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#35: The artist fee should be good.|#44: No name tags at dinner.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#99: Evolve according to changing needs.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#29: We make the program for the artist that we exhibit.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#90: The best systems have a failure or ‘a hole’ in them…|#81: Things come alive when there is friction.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#91: Embrace doubt.|#82: Clean and sterile looks professional, but really boring.|#19: Have fun at the exhibition.|#65: No excuses: Thursday morning, team meeting.|#17: An exhibition is never finished.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#105: Kunsthal Gent is local in scale, but globally connected.|#132: Things will always look weird when you’re the first doing it.|#20: Are exhibitions the most suitable form for the art that we present?|#107: Build a community / scene.|#16: Kunsthal Gent will always be a construction site.|#61: No all male install teams.|#36: We support production separately.|#68: Once in a while we need to get out of utopia and get something done.|#30: Don’t work with artists who are assholes.|#51: How do we invite the true unknown?|#89: Build-in impurity within the organisation.|#53: Immaterial support for artists is important.|#2: Bring something new to the city of Ghent.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#117: Consider design, organisational structures and architecture as programme.|#124: Do less, do it better.|#55: Keep basic human needs on the forefront.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#39: Be the early stepping stone in an artist’s career|#84: The White Cube is a lie.|#98: The success of it will not lie in the result but in the process.|#92: We’re a learning organisation.|#28: Make Contracts.|#119: Be a space of production.|#94: No objections? Just do it.|#37: Operate with radical transparency.|#26: More artists, less borders.|#40: Follow the artist|#111: Do it together.|#62: Don’t be a dick. Full dishwasher: empty it.|#15: Kunsthal Gent aims to be an extension of public space.|#74: Last one out turns of the lights.|#32: Be pan-gender polyphonic.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#6: Demand that visitors are active.|#59: Always protect the floor when painting (or pouring concrete)|#14: Can you also remain a toddler institution?|#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|#56: Take a lunch break.|#10: Don’t be obsessed with numbers.|#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.|#34: We pay artists.|#127: Remain practical: what happens to the work in an endless exhibition?|#112: Spaces today don’t need to be curated, but occupied.|#137: Use the publication as programming space|#54: What about disabled artists?|#4: Pay what you can.|#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.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#35: The artist fee should be good.|#44: No name tags at dinner.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#99: Evolve according to changing needs.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#29: We make the program for the artist that we exhibit.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#90: The best systems have a failure or ‘a hole’ in them…|#81: Things come alive when there is friction.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#91: Embrace doubt.|#82: Clean and sterile looks professional, but really boring.|#19: Have fun at the exhibition.|#65: No excuses: Thursday morning, team meeting.|#17: An exhibition is never finished.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#105: Kunsthal Gent is local in scale, but globally connected.|#132: Things will always look weird when you’re the first doing it.|#20: Are exhibitions the most suitable form for the art that we present?|#107: Build a community / scene.|#16: Kunsthal Gent will always be a construction site.|#61: No all male install teams.|#36: We support production separately.|#68: Once in a while we need to get out of utopia and get something done.|#30: Don’t work with artists who are assholes.|#51: How do we invite the true unknown?|#89: Build-in impurity within the organisation.|#53: Immaterial support for artists is important.|#2: Bring something new to the city of Ghent.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#117: Consider design, organisational structures and architecture as programme.|#124: Do less, do it better.|#55: Keep basic human needs on the forefront.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#39: Be the early stepping stone in an artist’s career|#84: The White Cube is a lie.|#98: The success of it will not lie in the result but in the process.|#92: We’re a learning organisation.|#28: Make Contracts.|#119: Be a space of production.|#94: No objections? Just do it.|#37: Operate with radical transparency.|#26: More artists, less borders.|#40: Follow the artist|#111: Do it together.|#62: Don’t be a dick. Full dishwasher: empty it.|#15: Kunsthal Gent aims to be an extension of public space.|#74: Last one out turns of the lights.|#32: Be pan-gender polyphonic.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#6: Demand that visitors are active.|#59: Always protect the floor when painting (or pouring concrete)|#14: Can you also remain a toddler institution?|#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|#56: Take a lunch break.|#10: Don’t be obsessed with numbers.|#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.|#34: We pay artists.|#127: Remain practical: what happens to the work in an endless exhibition?|#112: Spaces today don’t need to be curated, but occupied.|#137: Use the publication as programming space|#54: What about disabled artists?|
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09.10.2020 20:00

in gesprek met Sandrine Colard (Lubumbashi Biennale) + Pascal Nicolas (Het Betere Boek, Willemsfonds)

Pay what you can

ARTIST TALK:
Younes Baba-Ali

Vrijdag 9 oktober, 20:00 - 21:30
Artist Talk Younes Baba-Ali
Gevolgd door een gesprek met Sandrine Colard (Lubumbashi Biennale), Pascal Nicolas (Het Betere Boek, Willemsfonds) en Danielle van Zuijlen (Kunsthal Gent)
Reserveer een plaats

Vrijdag 9 oktober, 18:00
Opening tentoonstelling bij Liberas, Kramersplein 23, 9000 Gent. AUB APART RESERVEREN VOOR DE OPENING BIJ LIBERAS

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Younes Baba Ali maakt momenteel deel uit van het ontwikkelingsprogramma in Kunsthal Gent. Zijn werkperiode overlapt met de tentoonstelling Arrival/Departure bij Liberas Gent, in het kader van het festival Het Betere Boek 2020: Ontdenk Afrika (04/10 tot 29/10). Voor deze tentoonstelling brengen initiatiefnemer Pascal Nicolas en de kunstenaar de drie werken die Younes Baba Ali in 2019 maakte voor de Lubumbashi Biennale vanuit Congo naar Gent - ondanks internationale restricties in tijden van corona. Eén werk uit de tentoonstelling, de installatie Arrival/Departure (waar de tentoonstelling haar titel aan ontleent), is te zien in Kunsthal Gent.

Op vrijdag 9 oktober verwelkomen we Pascal Nicolas (Het Betere Boek) en curator Sandrine Colard (Lubumbashi Biennale 2019) in Kunsthal Gent bij de artist talk van Younes Baba-Ali en een gesprek over zijn werk.

Arrival/Departure in Kunsthal Gent, 9 - 28 oktober 2020
De installatie Arrival/Departure bestaat uit een video, valse Belgische paspoorthoesjes en een verkoopstand. In Lubumbashi maakte Baba-Ali Belgische paspoorthoesjes na, die hij onder een groep Congolese kunstenaars verspreidde. Naast de fictieve paspoorten en een verkoopstand van waaruit de hoesjes werd verkocht, maakt een video deel uit van de installatie, waarin de Congolese kunstenaars getuigen van hun ervaringen met het reizen en gebruiken van hun eigen Congolese paspoorten, vermomd achter een Belgische façade. De paspoorthoesjes zijn een ideaal middel voor het stellen van vragen over kwesties van een andere orde, zoals staatsveiligheid, individuele vrijheid, mobiliteit en persoonlijke en nationale identiteit. Ze leggen niet alleen nationale grenzen bloot, maar ook grenzen tussen sociale en interpersoonlijke systemen van allerlei aard.en leggen niet alleen nationale grenzen bloot, maar ook grenzen tussen sociale en interpersoonlijke systemen van allerlei aard.

Arrival/Departure bij Liberas/Het Betere Boek, 9 - 28 oktober 2020
De overige 2 werken die Baba-Ali maakte voor de Lubumbashi Bienale zijn te zien bij Liberas, samen met een artistieke reflectie op hun Congo-archief. Liberas bezit een zeer uitgebreide collectie foto’s over Congo, zowel de fauna en flora, het dagelijkse leven, de koloniale periode, de onafhankelijkheid en zo meer vanuit de toenmalige propagandadienst InforCongo. Het geheel vormt een reflectie rond de (on)mogelijkheden van (internationale) uitwisseling. De tentoonstelling concentreert zich rond vertrek en aankomst en de manier waarop dit vanuit verschillende perspectieven anders gepercipieerd wordt.

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Younes Baba-Ali - lees biografie hier

Sandrine Colard is assistent-professor kunstgeschiedenis aan Rutgers University-Newark (USA) en een onafhankelijk curator. Ze was de curator van Multiple Transmissions: Art in the Afropolitan Age (Wiels, Brussel, 2019) ; The Way She Looks : A History of Female Gazes in African Portraiture. Photographs from The Walther Collection (Ryerson Image Center, Toronto, 2019). Ze was ook de curator van de 6e Biënnale van Lubumbashi, Future Genealogies : Tales from the Equatorial Line (Lubumbashi, DRC, 2019). Haar tentoonstellingsproject Congoville opende in mei 2020 in het Middelheimmuseum, Antwerpen. Op basis van onderzoek in België, Kinshasa en Lubumbashi (DRC) onderzoekt haar huidige boekproject de geschiedenis van de fotografie in het koloniale Congo (1885-1960).

Pascal Nicolas
is erkend psycholoog en coach. Hij begeleidde heel diverse internationale kunstenaars en interculturele projecten bij hun strategische ontwikkeling. Momenteel coacht hij ook het literaire festival Het Betere Boek.


1 Arrival Departure YBA