#99: Evolve according to changing needs.|#94: No objections? Just do it.|#61: No all male install teams.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#17: An exhibition is never finished.|#90: The best systems have a failure or ‘a hole’ in them…|#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|#119: Be a space of production.|#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.|#10: Don’t be obsessed with numbers.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#20: Are exhibitions the most suitable form for the art that we present?|#29: We make the program for the artist that we exhibit.|#59: Always protect the floor when painting (or pouring concrete)|#39: Be the early stepping stone in an artist’s career|#89: Build-in impurity within the organisation.|#51: How do we invite the true unknown?|#124: Do less, do it better.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#74: Last one out turns of the lights.|#117: Consider design, organisational structures and architecture as programme.|#132: Things will always look weird when you’re the first doing it.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#99: Evolve according to changing needs.|#94: No objections? Just do it.|#61: No all male install teams.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#17: An exhibition is never finished.|#90: The best systems have a failure or ‘a hole’ in them…|#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|#119: Be a space of production.|#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.|#10: Don’t be obsessed with numbers.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#20: Are exhibitions the most suitable form for the art that we present?|#29: We make the program for the artist that we exhibit.|#59: Always protect the floor when painting (or pouring concrete)|#39: Be the early stepping stone in an artist’s career|#89: Build-in impurity within the organisation.|#51: How do we invite the true unknown?|#124: Do less, do it better.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#74: Last one out turns of the lights.|#117: Consider design, organisational structures and architecture as programme.|#132: Things will always look weird when you’re the first doing it.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|
This website uses cookies to improve your user experience. More info

07.09.2021 19:00

In English / limited places, please register

Pay what you can

Grace Ndiritu:
A Therapeutic Townhall Meeting

A Therapeutic Townhall Meeting (ENG)

Tuesday 7th September - 19.00 - 21.30
Location on historic site - in the hall
church

The Truth and Reconciliation Commission (TRC) was founded in 1995, as part of a restorative justice movement at the end of apartheid in South Africa. Following in those historic footsteps, Ndiritu's project at Kunsthal Gent will attempt to create a space in which difficult subjects can be discussed in a safe manner. Without victim blaming or punishment, and therefore allowing a type of 'townhall meeting' in which local residents and other interested parties can hear from each other on political subjects in a therapeutic and playful manner.

In her ‘healing’ performance Grace Ndiritu will use meditation, letter writing and word-play to collectively unpack what the Truth and Reconciliation process means in the context of the ongoing dispute over the Caermersklooster site.

This performance will then be contextualized within the larger framework of Ndiritu’s ongoing research on Indigenous and ecological communities in the Global South, so that new ideas of custodianship of land and building, and the private and public use of them can be brought to Ghent, where they are also needed.

The performance will involve participants who will activate a specially commissioned textile installation. The woven carpet incorporates an iconic image from ​the Aboriginal Land Rights movement in 1970s Australia. Now in 2021, it will create a safe space and be the stage for Ndiritu’s performance upon which academics, politicians, artists, activists, students, and the public will gather and discuss How to Live Together?

20 participants + 5 standby for dropouts
Participants must sign up in advance (link on top)

This event is part of the programme GHENT: HOW TO LIVE TOGETHER - a season of truth and reconciliation, 7 September - 10 December 2021.
Grace Ndiritu, Jubilee, Kunsthal Gent Development Programme.

MORE INFO ON ALL EVENTS 'HOW TO LIVE TOGETHER'
SMALL KHG1976 Aboriginal Land Rights Act 0

RELATED WORK PERIODS