#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?|#35: The artist fee should be good.|#99: Evolve according to changing needs.|#14: Can you also remain a toddler institution?|#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.|#36: We support production separately.|#81: Things come alive when there is friction.|#91: Embrace doubt.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#61: No all male install teams.|#65: No excuses: Thursday morning, team meeting.|#107: Build a community / scene.|#44: No name tags at dinner.|#55: Keep basic human needs on the forefront.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#2: Bring something new to the city of Ghent.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#98: The success of it will not lie in the result but in the process.|#64: Arrange a distribution of forces.|#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 /…|#37: Operate with radical transparency.|#39: Be the early stepping stone in an artist’s career|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#4: Pay what you can.|#117: Consider design, organisational structures and architecture as programme.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#94: No objections? Just do it.|#53: Immaterial support for artists is important.|#16: Kunsthal Gent will always be a construction site.|#124: Do less, do it better.|#111: Do it together.|#132: Things will always look weird when you’re the first doing it.|#105: Kunsthal Gent is local in scale, but globally connected.|#51: How do we invite the true unknown?|#59: Always protect the floor when painting (or pouring concrete)|#89: Build-in impurity within the organisation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#15: Kunsthal Gent aims to be an extension of public space.|#90: The best systems have a failure or ‘a hole’ in them…|#6: Demand that visitors are active.|#26: More artists, less borders.|#21: Live with the exhibition, spend time with it.|#74: Last one out turns of the lights.|#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?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#17: An exhibition is never finished.|#40: Follow the artist|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#28: Make Contracts.|#119: Be a space of production.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#34: We pay artists.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#54: What about disabled artists?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#19: Have fun at the exhibition.|#137: Use the publication as programming space|#20: Are exhibitions the most suitable form for the art that we present?|#62: Don’t be a dick. Full dishwasher: empty it.|#112: Spaces today don’t need to be curated, but occupied.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#84: The White Cube is a lie.|#82: Clean and sterile looks professional, but really boring.|#56: Take a lunch break.|#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.|#10: Don’t be obsessed with numbers.|#30: Don’t work with artists who are assholes.|#92: We’re a learning organisation.|#68: Once in a while we need to get out of utopia and get something done.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#32: Be pan-gender polyphonic.|#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?|#35: The artist fee should be good.|#99: Evolve according to changing needs.|#14: Can you also remain a toddler institution?|#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.|#36: We support production separately.|#81: Things come alive when there is friction.|#91: Embrace doubt.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#61: No all male install teams.|#65: No excuses: Thursday morning, team meeting.|#107: Build a community / scene.|#44: No name tags at dinner.|#55: Keep basic human needs on the forefront.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#2: Bring something new to the city of Ghent.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#98: The success of it will not lie in the result but in the process.|#64: Arrange a distribution of forces.|#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 /…|#37: Operate with radical transparency.|#39: Be the early stepping stone in an artist’s career|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#4: Pay what you can.|#117: Consider design, organisational structures and architecture as programme.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#94: No objections? Just do it.|#53: Immaterial support for artists is important.|#16: Kunsthal Gent will always be a construction site.|#124: Do less, do it better.|#111: Do it together.|#132: Things will always look weird when you’re the first doing it.|#105: Kunsthal Gent is local in scale, but globally connected.|#51: How do we invite the true unknown?|#59: Always protect the floor when painting (or pouring concrete)|#89: Build-in impurity within the organisation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#15: Kunsthal Gent aims to be an extension of public space.|#90: The best systems have a failure or ‘a hole’ in them…|#6: Demand that visitors are active.|#26: More artists, less borders.|#21: Live with the exhibition, spend time with it.|#74: Last one out turns of the lights.|#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?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#17: An exhibition is never finished.|#40: Follow the artist|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#28: Make Contracts.|#119: Be a space of production.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#34: We pay artists.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#54: What about disabled artists?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#19: Have fun at the exhibition.|#137: Use the publication as programming space|#20: Are exhibitions the most suitable form for the art that we present?|#62: Don’t be a dick. Full dishwasher: empty it.|#112: Spaces today don’t need to be curated, but occupied.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#84: The White Cube is a lie.|#82: Clean and sterile looks professional, but really boring.|#56: Take a lunch break.|#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.|#10: Don’t be obsessed with numbers.|#30: Don’t work with artists who are assholes.|#92: We’re a learning organisation.|#68: Once in a while we need to get out of utopia and get something done.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#32: Be pan-gender polyphonic.|
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Kunsthal Gent is an experimental intersection for the presentation and development of contemporary art, located in a monumental fourteenth-century Carmelite monastery in the centre of Ghent since 2018.

During the weekend, Kunsthal Gent is an exhibition space that can be visited free of charge. On working days it is a workplace for artists and artistic organisations, but there are also public activities: from lectures and workshops to screenings and performances.

At Kunsthal Gent, various artistic players and disciplines in the arts meet each other. Emerging, established, local and international names are invited: they develop their artistic practice or present their work in exhibitions.

Kunsthal Gent is a small organisation in a large building and therefore offers a lot of space for programs of partners, such as Art Cinema OFFoff, the Curatorial Studies course of the Ghent Royal Academy of Fine Arts (KASK), the art education organisation das Kunst and many others.

Three times a year there is an opening with a new series of exhibitions. In the permanent exhibition programme Endless Exhibition*, curators and artists add exhibitions without an end date. In addition, Kunsthal Gent houses the development programme Permanently Practising, offering six artists, collectives, organisations or collaborative projects a grant for a work period each year.

Encounters and collaboration are the driving forces behind a hybrid programme with different layers and speeds, in which various artistic players react to each other and to the spatial context. Visual art is central to the programme, which is constantly nourished and challenged by architecture, design, audiovisual art, performing arts and art in public space. With this broad approach, Kunsthal Gent not only transcends the classical definitions of the artist, curator, critic and designer, but also breaks down the dividing lines between individual, collective and organisation. Kunsthal Gent offers these players a professional framework for experimenting with new ways of developing and presenting; it functions not only as an exhibition space, but also as a meeting place and as a base of operations; it builds and strengthens networks and opens the door to the city. With this approach, Kunsthal Gent aims to be a link between artist-run spaces, galleries, art schools and museums and to contribute to the development of a healthy ecology for contemporary art in Ghent.

Kunsthal Gent is certainly not a white cube. Compare it with a city, with a public space in which different identities come together and interact or rather exist alongside each other. Kunsthal Gent unfolds itself as a city in the making: always in motion, with rapid and slow changes at the same time. The works in the Endless Exhibition remain in place or are adapted, while spatial interventions, exhibitions and other public activities move around them. Some works will not withstand the resistance of new additions and will move, change or disappear. In the same way that a city is constantly being built, removed, repaired or adapted.

* The basis for the artistic programme at Kunsthal Gent is inspired by Endless Exhibition, a work by Prem Krishnamurthy (US).

"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.”

Alexander Dorner, The Way Beyond ‘Art’: The Work of Herbert Bayer, ReInk Books, 2017 (1947), p.116.