#61: No all male install teams.|#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|#20: Are exhibitions the most suitable form for the art that we present?|#35: The artist fee should be good.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#2: Bring something new to the city of Ghent.|#34: We pay artists.|#81: Things come alive when there is friction.|#59: Always protect the floor when painting (or pouring concrete)|#89: Build-in impurity within the organisation.|#26: More artists, less borders.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#30: Don’t work with artists who are assholes.|#94: No objections? Just do it.|#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.|#28: Make Contracts.|#90: The best systems have a failure or ‘a hole’ in them…|#117: Consider design, organisational structures and architecture as programme.|#17: An exhibition is never finished.|#36: We support production separately.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#51: How do we invite the true unknown?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#61: No all male install teams.|#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|#20: Are exhibitions the most suitable form for the art that we present?|#35: The artist fee should be good.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#2: Bring something new to the city of Ghent.|#34: We pay artists.|#81: Things come alive when there is friction.|#59: Always protect the floor when painting (or pouring concrete)|#89: Build-in impurity within the organisation.|#26: More artists, less borders.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#30: Don’t work with artists who are assholes.|#94: No objections? Just do it.|#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.|#28: Make Contracts.|#90: The best systems have a failure or ‘a hole’ in them…|#117: Consider design, organisational structures and architecture as programme.|#17: An exhibition is never finished.|#36: We support production separately.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#51: How do we invite the true unknown?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|
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05—13.06.2021 11:00

Christoph Fink / That's It! Soundtrack

Pay what you can

LAST WEEKEND:
Aardstuk / Lied voor Kunsthal Gent

Earth piece / Song for Kunsthal Gent - inner courtyard, duration 01:17**

Sound proposal (version for the monastery courtyard of Kunsthal Gent, June 2021) Polyphonic piece with eleven channels, variable baffle arrangements, sound volume tuned to 3 elements of near and far reality (turtle doves/near interior space), (streetcar passage/transition, intermediate space) and the bells of the three towers (city center/far cultural public space).

The contextually adjusted tonal tuning of this new version is a continuation of the sound studies based on the same principle of construction, natural sound reverberation effects and ambulatory listening (e.g. the study for the inner courtyard of the Stuk, Leuven, artefact festival 2019).

Due to the optimal contrast between the ambient silence and the incoming world sounds, reality and fiction mixed, fill, escape and overflow the place (USA sound archives, Palestine/Jerusalem soundscapes, local brass bands and orchestras of West Flanders, Shanghai sound recordings, improvisations on violin, piano and electric guitar ... ). The visitor is transported in a complex illusionist space, in constant formation which does not cease to flow its multiple temporalities, to merge, to untie, to settle in new cartographies of marine, celestial, terrestrial landscapes. He is invited under the cloudy sky of the north to make, with no other image than that of a received postcard, the sound experience of one hour seventeen minutes of a film without pellicule.

In the interrupted silence of the place, he explores, tangential to those of the place, the borders of his own interior world: raising his head, he makes, by a simple sound, the limits of the two worlds correspond, he confuses and splits the things: roofs, roof ridges, birds, plants, bricks, bells and hammers. It is then that, looking down on the postcard of the Flemish sky that he holds in his hand, everything leads him to think that one day, later on, he will have been there.

(postcard of a painting whose title indicates the figure of the sound counterpoint evokes the passage of the clouds. As is the case with all of Christoph’s work, where each cloud, through an inexhaustible fascination, never ceases to decline in an almost legendary model the infinity of its figures).

j.t. 2021

in the room: audible excerpts from the Sound Tracks Christoph Fink - archive ‘THAT’S IT!-Dia:Beacon’*** (NY), 2015-2018.

Exceptionally covered for the occasion of ‘Aardstuk’ (‘Earth Piece’), the TODAY NO FILM screens, propose an audio listening of the live compositions played by Christoph Fink and Valentijn Goethals.

** realized with the help and expertise of Roeland Luyten and sound archives of Christoph Fink and Joëlle Tuerlinckx (1980-2021).*** Joëlle Tuerlinckx, performance choreographer and director of the Study-Films ‘THATS IT! Dia:Beacon’ (2015-2021) . Following La Fabrique d’un Single Screen (Kunsthal Gent, programming 2019) some excerpts of the 124 Study sessions conducted between 2015 and 2018 in the rooms of Dia Beacon, New York are presented on a monitor as an integral part of the ensemble permanently exhibited in the central room of the Kunsthal


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