#53: Immaterial support for artists is important.|#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?|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#98: The success of it will not lie in the result but in the process.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#127: Remain practical: what happens to the work in an endless exhibition?|#137: Use the publication as programming space|#55: Keep basic human needs on the forefront.|#65: No excuses: Thursday morning, team meeting.|#99: Evolve according to changing needs.|#54: What about disabled artists?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#62: Don’t be a dick. Full dishwasher: empty it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#64: Arrange a distribution of forces.|#74: Last one out turns of the lights.|#30: Don’t work with artists who are assholes.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#10: Don’t be obsessed with numbers.|#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.|#53: Immaterial support for artists is important.|#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?|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#98: The success of it will not lie in the result but in the process.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#127: Remain practical: what happens to the work in an endless exhibition?|#137: Use the publication as programming space|#55: Keep basic human needs on the forefront.|#65: No excuses: Thursday morning, team meeting.|#99: Evolve according to changing needs.|#54: What about disabled artists?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#62: Don’t be a dick. Full dishwasher: empty it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#64: Arrange a distribution of forces.|#74: Last one out turns of the lights.|#30: Don’t work with artists who are assholes.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#10: Don’t be obsessed with numbers.|#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.|
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05—13.06.2021 11:00

Christoph Fink / That's It! Soundtrack

Pay what you can

NEW DATE:
Aardstuk / Lied voor Kunsthal Gent

Christoph Fink presenteert, in een verderzetting van samenwerkingen met Joëlle Tuerlinckx en Valentijn Goethals, een geluidscompositie opgebouwd uit soundscapes en een breed vooropgenomen instrumentarium. De ruimte of architectuur wordt een instrument resonerend op gespatialiseerde geluidsbewegingen. Het beeldend werk van Fink kan men beschouwen als een grote, dynamische en steeds evoluerende partituur. Het rollende klanktapijt Earth Piece/Lied voor KUNSTHAL GENT binnenplein is hiervan een mogelijke manifestatie.

Fink liet zijn concept Atlas der Bewegingen ontstaan vanuit het oplijsten van zijn reismateriaal: gedetailleerde chrono-geografische notities, foto- en geluidsopnames, ‘nuchtere’ observaties van zijn reizen, het snelschetsen van dynamische ‘stillevens’ (vluchten, fiets- en wandelreizen) en hun verwerking in structurerende beelden. Vanuit die initiële structuur, die meerstemmige en aanhoudende drone van reisnotities, worden andere ruimtetijdstructuren of contexten verknoopt: filosofische, muzikale en historische verhalen die alles contextualiseren. Het concept van deze Atlas is ondertussen de dragende titel van het hele oeuvre; de mogelijkheden en limieten van het individuele menselijke lichaam ingebed in de totaliteit der dingen, de waarneming van de 'werkelijkheid' als een poëtische of muzikale structuur.

techniek en advies: Roeland Luyten


IMAGES
MDC KH JT 1 009 HR