#32: Be pan-gender polyphonic.|#10: Don’t be obsessed with numbers.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#29: We make the program for the artist that we exhibit.|#37: Operate with radical transparency.|#89: Build-in impurity within the organisation.|#28: Make Contracts.|#44: No name tags at dinner.|#51: How do we invite the true unknown?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#26: More artists, less borders.|#91: Embrace doubt.|#20: Are exhibitions the most suitable form for the art that we present?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#124: Do less, do it better.|#34: We pay artists.|#6: Demand that visitors are active.|#2: Bring something new to the city of Ghent.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#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.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#90: The best systems have a failure or ‘a hole’ in them…|#4: Pay what you can.|#32: Be pan-gender polyphonic.|#10: Don’t be obsessed with numbers.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#29: We make the program for the artist that we exhibit.|#37: Operate with radical transparency.|#89: Build-in impurity within the organisation.|#28: Make Contracts.|#44: No name tags at dinner.|#51: How do we invite the true unknown?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#26: More artists, less borders.|#91: Embrace doubt.|#20: Are exhibitions the most suitable form for the art that we present?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#124: Do less, do it better.|#34: We pay artists.|#6: Demand that visitors are active.|#2: Bring something new to the city of Ghent.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#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.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#90: The best systems have a failure or ‘a hole’ in them…|#4: Pay what you can.|
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