#32: Be pan-gender polyphonic.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#51: How do we invite the true unknown?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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|#127: Remain practical: what happens to the work in an endless exhibition?|#107: Build a community / scene.|#64: Arrange a distribution of forces.|#21: Live with the exhibition, spend time with it.|#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.|#37: Operate with radical transparency.|#2: Bring something new to the city of Ghent.|#36: We support production separately.|#119: Be a space of production.|#89: Build-in impurity within the organisation.|#17: An exhibition is never finished.|#98: The success of it will not lie in the result but in the process.|#30: Don’t work with artists who are assholes.|#54: What about disabled artists?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#68: Once in a while we need to get out of utopia and get something done.|#14: Can you also remain a toddler institution?|#56: Take a lunch break.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#32: Be pan-gender polyphonic.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#51: How do we invite the true unknown?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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|#127: Remain practical: what happens to the work in an endless exhibition?|#107: Build a community / scene.|#64: Arrange a distribution of forces.|#21: Live with the exhibition, spend time with it.|#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.|#37: Operate with radical transparency.|#2: Bring something new to the city of Ghent.|#36: We support production separately.|#119: Be a space of production.|#89: Build-in impurity within the organisation.|#17: An exhibition is never finished.|#98: The success of it will not lie in the result but in the process.|#30: Don’t work with artists who are assholes.|#54: What about disabled artists?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#68: Once in a while we need to get out of utopia and get something done.|#14: Can you also remain a toddler institution?|#56: Take a lunch break.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|
