#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|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#105: Kunsthal Gent is local in scale, but globally connected.|#32: Be pan-gender polyphonic.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#117: Consider design, organisational structures and architecture as programme.|#20: Are exhibitions the most suitable form for the art that we present?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#89: Build-in impurity within the organisation.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#54: What about disabled artists?|#29: We make the program for the artist that we exhibit.|#10: Don’t be obsessed with numbers.|#65: No excuses: Thursday morning, team meeting.|#81: Things come alive when there is friction.|#44: No name tags at dinner.|#62: Be kind. Full dishwasher: empty it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#56: Take a lunch break.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#94: No objections? Just do it.|#68: Once in a while we need to get out of utopia and get something done.|#53: Immaterial support for artists is important.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#105: Kunsthal Gent is local in scale, but globally connected.|#32: Be pan-gender polyphonic.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#117: Consider design, organisational structures and architecture as programme.|#20: Are exhibitions the most suitable form for the art that we present?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#89: Build-in impurity within the organisation.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#54: What about disabled artists?|#29: We make the program for the artist that we exhibit.|#10: Don’t be obsessed with numbers.|#65: No excuses: Thursday morning, team meeting.|#81: Things come alive when there is friction.|#44: No name tags at dinner.|#62: Be kind. Full dishwasher: empty it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#56: Take a lunch break.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#94: No objections? Just do it.|#68: Once in a while we need to get out of utopia and get something done.|#53: Immaterial support for artists is important.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|
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