#54: What about disabled artists?|#98: The success of it will not lie in the result but in the process.|#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.|#62: Don’t be a dick. Full dishwasher: empty it.|#64: Arrange a distribution of forces.|#89: Build-in impurity within the organisation.|#35: The artist fee should be good.|#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|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#29: We make the program for the artist that we exhibit.|#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.|#53: Immaterial support for artists is important.|#119: Be a space of production.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#4: Pay what you can.|#56: Take a lunch break.|#91: Embrace doubt.|#81: Things come alive when there is friction.|#92: We’re a learning organisation.|#30: Don’t work with artists who are assholes.|#68: Once in a while we need to get out of utopia and get something done.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#6: Demand that visitors are active.|#21: Live with the exhibition, spend time with it.|#117: Consider design, organisational structures and architecture as programme.|#90: The best systems have a failure or ‘a hole’ in them…|#51: How do we invite the true unknown?|#59: Always protect the floor when painting (or pouring concrete)|#65: No excuses: Thursday morning, team meeting.|#82: Clean and sterile looks professional, but really boring.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#40: Follow the artist|#132: Things will always look weird when you’re the first doing it.|#127: Remain practical: what happens to the work in an endless exhibition?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#105: Kunsthal Gent is local in scale, but globally connected.|#44: No name tags at dinner.|#112: Spaces today don’t need to be curated, but occupied.|#55: Keep basic human needs on the forefront.|#39: Be the early stepping stone in an artist’s career|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#36: We support production separately.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#17: An exhibition is never finished.|#99: Evolve according to changing needs.|#16: Kunsthal Gent will always be a construction site.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#28: Make Contracts.|#94: No objections? Just do it.|#74: Last one out turns of the lights.|#107: Build a community / scene.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#111: Do it together.|#14: Can you also remain a toddler institution?|#34: We pay artists.|#124: Do less, do it better.|#15: Kunsthal Gent aims to be an extension of public space.|#61: No all male install teams.|#20: Are exhibitions the most suitable form for the art that we present?|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#19: Have fun at the exhibition.|#32: Be pan-gender polyphonic.|#2: Bring something new to the city of Ghent.|#10: Don’t be obsessed with numbers.|#137: Use the publication as programming space|#84: The White Cube is a lie.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#37: Operate with radical transparency.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#54: What about disabled artists?|#98: The success of it will not lie in the result but in the process.|#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.|#62: Don’t be a dick. Full dishwasher: empty it.|#64: Arrange a distribution of forces.|#89: Build-in impurity within the organisation.|#35: The artist fee should be good.|#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|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#29: We make the program for the artist that we exhibit.|#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.|#53: Immaterial support for artists is important.|#119: Be a space of production.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#4: Pay what you can.|#56: Take a lunch break.|#91: Embrace doubt.|#81: Things come alive when there is friction.|#92: We’re a learning organisation.|#30: Don’t work with artists who are assholes.|#68: Once in a while we need to get out of utopia and get something done.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#6: Demand that visitors are active.|#21: Live with the exhibition, spend time with it.|#117: Consider design, organisational structures and architecture as programme.|#90: The best systems have a failure or ‘a hole’ in them…|#51: How do we invite the true unknown?|#59: Always protect the floor when painting (or pouring concrete)|#65: No excuses: Thursday morning, team meeting.|#82: Clean and sterile looks professional, but really boring.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#40: Follow the artist|#132: Things will always look weird when you’re the first doing it.|#127: Remain practical: what happens to the work in an endless exhibition?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#105: Kunsthal Gent is local in scale, but globally connected.|#44: No name tags at dinner.|#112: Spaces today don’t need to be curated, but occupied.|#55: Keep basic human needs on the forefront.|#39: Be the early stepping stone in an artist’s career|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#36: We support production separately.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#17: An exhibition is never finished.|#99: Evolve according to changing needs.|#16: Kunsthal Gent will always be a construction site.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#28: Make Contracts.|#94: No objections? Just do it.|#74: Last one out turns of the lights.|#107: Build a community / scene.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#111: Do it together.|#14: Can you also remain a toddler institution?|#34: We pay artists.|#124: Do less, do it better.|#15: Kunsthal Gent aims to be an extension of public space.|#61: No all male install teams.|#20: Are exhibitions the most suitable form for the art that we present?|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#19: Have fun at the exhibition.|#32: Be pan-gender polyphonic.|#2: Bring something new to the city of Ghent.|#10: Don’t be obsessed with numbers.|#137: Use the publication as programming space|#84: The White Cube is a lie.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#37: Operate with radical transparency.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|
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Younes Baba-Ali

Work period summer / autumn 2020

In his context-specific installations, Younes Baba-Ali mixes technology, objects, sound, video and photography with political, social and ecological issues. The public space is central to his research, as an improvised workspace for the development of projects, and as an unconventional exhibition space where he holds up a mirror to society and confronts it with its ingrained habits and shortcomings. His works take on their final form in dialogue with the audience. With sometimes disruptive interventions he confronts the spectator ironically with himself and his environment.

During his work period in Kunsthal Gent Baba-Ali will invite different people - residents / artists / researchers - and will be recording sound material. He then brings these sounds back to the street and to the Kunsthal itself through performative actions and interventions.

In parallel, he is working with Pascal Nicolas on the exhibition Arrival / Departure, as part of the festival Het Betere Boek 2020: Unthink Africa. One work from the exhibition - the installation Arrival / Departure (from which the exhibition derives its title), will be on display in Kunsthal Gent from 9 to 28 October.

On 9 Friday October at 20:00 there will be an artist talk
by Younes Baba Ali, with guests Pascal Nicolas (coach Het Betere Boek/Willemsfonds) and Sandrine Colard, curator Lubumbashi Biennale 2019.

Image: (c) Matteo Lonardi

Biography

Born in 1986 in Oujda (Ma), Younes Baba-Ali lives and works in Casablanca (Ma) and Brussels (Be). Graduating from l’Ecole Supérieure des Arts Décoratifs de Strasbourg in 2008, and from l’Ecole Supérieure d’Art d’Aix-en-Provence in 2011, he was rewarded by the Léopold Sédar Senghor prize, during the African Contemporary Art Biennial of Dakar (Sn) in 2012 and the Boghossian prize, during the Belgian Art Prize Art’Contest in Brussels (Be) in 2014. He has participated in several international exhibitions and biennials, including recent and upcoming projects such as Kunstenfestivaldesarts, Brussels (Be), the Biennale de Lubumbashi, Lubumbashi (RDC), Brussels Background, Brussels (Be), Brussels in Song Eun : Imagining Cities Beyond Technology 2.0, Seoul (Kr), For a Brave New Brussels, Lisbon (Pt), Digital Imaginaries - Africas in Production, ZKM, Karlsruhe (De), One Place After Another, Moscow (Ru), The Marrakech Biennale, Marrakech (Ma), Documenta 14, Berlin (De), Biennale of Contemporary African Art, Dakar, (Sn), Commissions, KANAL - Centre Pompidou, Brussels (Be), and Gemischte Gefühle, Tempelhof, Berlin (De). His work is part of different collections, both private and public, such as Kanal – Centre Pompidou, Brussels (Be).

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