#54: What about disabled artists?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#14: Can you also remain a toddler institution?|#94: No objections? Just do it.|#35: The artist fee should be good.|#53: Immaterial support for artists is important.|#34: We pay artists.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#117: Consider design, organisational structures and architecture as programme.|#17: An exhibition is never finished.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#56: Take a lunch break.|#132: Things will always look weird when you’re the first doing it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#82: Clean and sterile looks professional, but really boring.|#81: Things come alive when there is friction.|#74: Last one out turns of the lights.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#92: We’re a learning organisation.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#59: Always protect the floor when painting (or pouring concrete)|#62: Be kind. Full dishwasher: empty it.|#137: Use the publication as programming space|#29: We make the program for the artist that we exhibit.|#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.|#54: What about disabled artists?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#14: Can you also remain a toddler institution?|#94: No objections? Just do it.|#35: The artist fee should be good.|#53: Immaterial support for artists is important.|#34: We pay artists.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#117: Consider design, organisational structures and architecture as programme.|#17: An exhibition is never finished.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#56: Take a lunch break.|#132: Things will always look weird when you’re the first doing it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#82: Clean and sterile looks professional, but really boring.|#81: Things come alive when there is friction.|#74: Last one out turns of the lights.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#92: We’re a learning organisation.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#59: Always protect the floor when painting (or pouring concrete)|#62: Be kind. Full dishwasher: empty it.|#137: Use the publication as programming space|#29: We make the program for the artist that we exhibit.|#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.|
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Apparatus 22 (RO/BE)

About Apparatus 22

Apparatus 22 is a transdisciplinary art collective founded in January 2011 by current members Erika Olea, Maria Farcas, Dragos Olea together with Ioana Nemes (1979 - 2011) in Bucharest, Romania. Since 2015 they are working between Bucharest and Brussels.

They see themselves as a collective of dreamers, researchers, poetic activists and (failed) futurologists interested in exploring the intricate relationships between economy, politics, gender studies, social movements, religion and fashion in order to understand contemporary society. An important topic of research and reflection in the practice of Apparatus 22 is SUPRAINFINIT universe: a world-making attempt to use hope critically in navigating present and future.

In their very diverse works - installations, performances, text based-shapes, reality is mixed with fiction and storytelling and all merge with a critical approach drawing knowledge & experience from design, sociology, literature and economics.

The work of Apparatus 22 was presented in exhibitions at La Biennale di Venezia 2013, MUMOK, Vienna (AT), BOZAR – Centre for Fine Arts, Brussels (BE), Museion, Bolzano (IT), Kunsthalle Wien (AT), Académie Royale des Beaux-Arts de Bruxelles (BE), Brukenthal Museum Contemporary Art Gallery, Sibiu (RO), Akademie Schloss Solitude, Stuttgart (DE), Contemporary Art Museum (MNAC), Bucharest (RO), KunstMuseum Linz (AT), La Triennale di Milano (IT), Loft - Servais Family Collection, Brussels (BE), TRAFO Gallery, Budapest (HU), Futura, Prague (CZ), Ujazdowski Castle – Centre for Contemporary Art, Warsaw (PL), Salonul de Proiecte, Bucharest (RO), Onomatopee Eindhoven (NL), TIME MACHINE BIENNIAL OF CONTEMPORARY ART, D-0 ARK UNDERGROUND, Konji (BIH), Osage Foundation (Hong Kong), Progetto Diogene, Turin (IT), Closer Art Centre, Kiev (UA), CIAP, Hasselt (BE), Barriera, Turin (IT), Suprainfinit Gallery, Bucharest (RO), GALLLERIAPIÙ, Bologna (IT);

Performances and interventions at MAK, Vienna (AT), Steirischer Herbst, Graz (AT), Stedelijk Museum with De Appel CP Amsterdam, (NL), Yarat Academy, Baku (AZ), Württembergischer Kunstverein Stuttgart (DE), Drodesera Festival, Dro (IT), Villa Empain, Brussels (BE), SMAK Gent, (BE), …

Apparatus 22 also works beyond institutions via performances in public spaces, interventions in private spaces and other hybrid forms.

Performance: The Elastic Test

Apparatus 22 Takes Over Kunsthal Gent

Apparatus 22 Artist Talk

Apparatus 22: The Continuum Broadcast

MDC KH APP22 15102019 002 HR