#90: The best systems have a failure or ‘a hole’ in them…|#111: Do it together.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#61: No all male install teams.|#64: Arrange a distribution of forces.|#6: Demand that visitors are active.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#37: Operate with radical transparency.|#89: Build-in impurity within the organisation.|#53: Immaterial support for artists is important.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#74: Last one out turns of the lights.|#39: Be the early stepping stone in an artist’s career|#26: More artists, less borders.|#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.|#127: Remain practical: what happens to the work in an endless exhibition?|#124: Do less, do it better.|#35: The artist fee should be good.|#62: Don’t be a dick. Full dishwasher: empty it.|#82: Clean and sterile looks professional, but really boring.|#15: Kunsthal Gent aims to be an extension of public space.|#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.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#4: Pay what you can.|#29: We make the program for the artist that we exhibit.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#32: Be pan-gender polyphonic.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#112: Spaces today don’t need to be curated, but occupied.|#56: Take a lunch break.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#44: No name tags at dinner.|#94: No objections? Just do it.|#34: We pay artists.|#16: Kunsthal Gent will always be a construction site.|#99: Evolve according to changing needs.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#65: No excuses: Thursday morning, team meeting.|#107: Build a community / scene.|#40: Follow the artist|#54: What about disabled artists?|#132: Things will always look weird when you’re the first doing it.|#68: Once in a while we need to get out of utopia and get something done.|#105: Kunsthal Gent is local in scale, but globally connected.|#59: Always protect the floor when painting (or pouring concrete)|#21: Live with the exhibition, spend time with it.|#55: Keep basic human needs on the forefront.|#17: An exhibition is never finished.|#51: How do we invite the true unknown?|#30: Don’t work with artists who are assholes.|#10: Don’t be obsessed with numbers.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#119: Be a space of production.|#19: Have fun at the exhibition.|#92: We’re a learning organisation.|#84: The White Cube is a lie.|#36: We support production separately.|#91: Embrace doubt.|#117: Consider design, organisational structures and architecture as programme.|#20: Are exhibitions the most suitable form for the art that we present?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#81: Things come alive when there is friction.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#2: Bring something new to the city of Ghent.|#98: The success of it will not lie in the result but in the process.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#137: Use the publication as programming space|#28: Make Contracts.|#90: The best systems have a failure or ‘a hole’ in them…|#111: Do it together.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#61: No all male install teams.|#64: Arrange a distribution of forces.|#6: Demand that visitors are active.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#37: Operate with radical transparency.|#89: Build-in impurity within the organisation.|#53: Immaterial support for artists is important.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#74: Last one out turns of the lights.|#39: Be the early stepping stone in an artist’s career|#26: More artists, less borders.|#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.|#127: Remain practical: what happens to the work in an endless exhibition?|#124: Do less, do it better.|#35: The artist fee should be good.|#62: Don’t be a dick. Full dishwasher: empty it.|#82: Clean and sterile looks professional, but really boring.|#15: Kunsthal Gent aims to be an extension of public space.|#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.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#4: Pay what you can.|#29: We make the program for the artist that we exhibit.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#32: Be pan-gender polyphonic.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#112: Spaces today don’t need to be curated, but occupied.|#56: Take a lunch break.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#44: No name tags at dinner.|#94: No objections? Just do it.|#34: We pay artists.|#16: Kunsthal Gent will always be a construction site.|#99: Evolve according to changing needs.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#65: No excuses: Thursday morning, team meeting.|#107: Build a community / scene.|#40: Follow the artist|#54: What about disabled artists?|#132: Things will always look weird when you’re the first doing it.|#68: Once in a while we need to get out of utopia and get something done.|#105: Kunsthal Gent is local in scale, but globally connected.|#59: Always protect the floor when painting (or pouring concrete)|#21: Live with the exhibition, spend time with it.|#55: Keep basic human needs on the forefront.|#17: An exhibition is never finished.|#51: How do we invite the true unknown?|#30: Don’t work with artists who are assholes.|#10: Don’t be obsessed with numbers.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#119: Be a space of production.|#19: Have fun at the exhibition.|#92: We’re a learning organisation.|#84: The White Cube is a lie.|#36: We support production separately.|#91: Embrace doubt.|#117: Consider design, organisational structures and architecture as programme.|#20: Are exhibitions the most suitable form for the art that we present?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#81: Things come alive when there is friction.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#2: Bring something new to the city of Ghent.|#98: The success of it will not lie in the result but in the process.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#137: Use the publication as programming space|#28: Make Contracts.|
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THE POST COLLECTIVE: COLLABORATIVE SPECULATIONS

01.02.2020 - 13.03.2020
01.08.2020 - 20.12.2020

THE POST COLLECTIVE


The Post Collective
is a young collective striving to establish an autonomous platform of co-creation, co-learning and cultural activism created by and for refugees, asylum seekers, sans-papiers and accomplices. It seeks to introduce a range of artistic, cultural and employment opportunities, as well as provide an overall collaborative environment for the participants regardless of their legal status. The collective arose from the ‘Open Design Course for Refugees and Asylum Seekers’ 2018 at KASK school of arts, Ghent (BE) when some alumni and teachers decided to continue working together.
Generative modes of dialogue and storytelling form the basis to our speculative and experiential approaches to art+design. We aim to develop creative alternatives beyond the dominate systems of control and exclusion we are facing. This means facilitating the position where we do not struggle to be assimilated but instead rethink and re-conceptualise critically a future together as community.


WORK PERIOD AT KUNSTHAL GENT: COLLABORATIVE SPECULATIONS

The only thing that is radical is space that we don’t know how to inhabit. This means space where we have to invent the ways to act and to live. Lebbeus Woods, architect

The Post Collective was offered a work period in the Development Programme from February 2020 to May 2020. Due to the lockdown everything was put on hold, and a second work period was added for the second half of 2020.

The collective aims to build up artistic practices that transcend language and cultural barriers and address to a broad audience. The Post Collective is researching its own modes and conditions of sustainability, as a group of people who do not only struggle with exclusions of race, class and sex but also legal exclusions, citizenship, human rights. The group will work on the fields of speculative design, self-publishing, graphic design, performance/sound art, collective reading, viewing and writing , storytelling, cooking and other artistic and critical practices.

Find the full programme here, on facebook or on the collective's website.
[POSTPONED - NEW DATES TBA]

Supported by KUNSTHAL GENT, Stad Gent, Refu-Interim, The Arts in Society Award and KASK school of Arts


The Post Collective are Mirra Markhaëva, Marcus Bergner, Elli Vassalou, Sawsan Maher, Mohammed Tawfiq, Hooman Jalidi and Kinda Ghannoum.

Mirra Markhaëva
(1992° Buryatia) is a visual artist. The range of her skills includes illustration, graphic design, lettering, painting and sculpting, but mostly she’s passionate by creation of murals. She has started her studies in ESA 75 (Brussels) in Graphic Design department but couldn’t graduate due to the fact that she’s stuck in paperless status. Searching for the ways to educate herself anyways she joined Open Design Course and then continued with the Post Collective.

Marcus Bergner
is an Australian artist based in Brussels. He is a member of the Australian sound poetry group Arf Arf. He has made over 25 experimental films that have been screened extensively worldwide. Recently with the Belgian artist, Myriam van Imschoot, he presented a series of workshops on sound poetry in institutions in Belgium, France and Portugal. He was awarded a PhD degree in art history in 2009 from Melbourne University.

Elli Vassalou
(1983° Greece) is a multimedia artist, activist, researcher and performer. She has studied Architecture and Urbanism in Patras, Greece and Autonomous design at KASK School of Arts, Ghent. She designs participatory platforms, actions and socially engaged projects. She works hybridicly with film-making, photography, movement, sound, discursive and multi-sensorial tools, site specific and archival art. She is seeking for new ways of polyphonic narrating, assembling bodies, spaces and objects in a critical and creative dialogue.

Sawsan Maher
is a Syrian researcher, activist, philosopher and designer. She studied Philosophy and social science and specialized in political science. Her passion to find communicative tools to connect academic humanities and activism activated her great interest in design and methodology.

Mohammed Tawfiq
(Iraq) studied graphic designs at Arteveldehogeschool. He is working with drawing, painting, photography, animation, graphic work, performance.

Hooman Jalidi
(1990° Iran) began to study visual arts and music in 2004 in Shiraz city. During this period he devoted himself in drawing, painting, collage, illustration, pattern design, digital design, fabric manipulation and textile design. In 2015 he came to Belgium.

Kinda Ghannoum
was born in 1991 in Poland, she is a Syrian/Polish graphic designer coming from Damascus. She graduated from the faculty of Architecture in Damascus University. She found her passion in graphic design, decided to follow it and learned by herself.

PUBLIC PROGRAMME 22.02 - 10.05
[POSTPONED - NEW DATES TBA]


CONTACT:
post.opendesigncourse.be

odc.postcollective@gmail.com
+32 489378481

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