#3: Entrance to all exhibitions at Kunsthal Gent is free.|#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|#62: Don’t be a dick. Full dishwasher: empty it.|#117: Consider design, organisational structures and architecture as programme.|#28: Make Contracts.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#137: Use the publication as programming space|#16: Kunsthal Gent will always be a construction site.|#2: Bring something new to the city of Ghent.|#84: The White Cube is a lie.|#124: Do less, do it better.|#17: An exhibition is never finished.|#82: Clean and sterile looks professional, but really boring.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#68: Once in a while we need to get out of utopia and get something done.|#111: Do it together.|#89: Build-in impurity within the organisation.|#51: How do we invite the true unknown?|#81: Things come alive when there is friction.|#119: Be a space of production.|#53: Immaterial support for artists is important.|#94: No objections? Just do it.|#65: No excuses: Thursday morning, team meeting.|#34: We pay artists.|#40: Follow the artist|#132: Things will always look weird when you’re the first doing it.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#39: Be the early stepping stone in an artist’s career|#14: Can you also remain a toddler institution?|#107: Build a community / scene.|#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.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#30: Don’t work with artists who are assholes.|#15: Kunsthal Gent aims to be an extension of public space.|#90: The best systems have a failure or ‘a hole’ in them…|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#64: Arrange a distribution of forces.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#99: Evolve according to changing needs.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#61: No all male install teams.|#20: Are exhibitions the most suitable form for the art that we present?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#127: Remain practical: what happens to the work in an endless exhibition?|#55: Keep basic human needs on the forefront.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#4: Pay what you can.|#91: Embrace doubt.|#36: We support production separately.|#105: Kunsthal Gent is local in scale, but globally connected.|#44: No name tags at dinner.|#92: We’re a learning organisation.|#19: Have fun at the exhibition.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#98: The success of it will not lie in the result but in the process.|#54: What about disabled artists?|#29: We make the program for the artist that we exhibit.|#35: The artist fee should be good.|#74: Last one out turns of the lights.|#37: Operate with radical transparency.|#10: Don’t be obsessed with numbers.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#26: More artists, less borders.|#56: Take a lunch break.|#21: Live with the exhibition, spend time with it.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#6: Demand that visitors are active.|#112: Spaces today don’t need to be curated, but occupied.|#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.|#32: Be pan-gender polyphonic.|#59: Always protect the floor when painting (or pouring concrete)|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#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|#62: Don’t be a dick. Full dishwasher: empty it.|#117: Consider design, organisational structures and architecture as programme.|#28: Make Contracts.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#137: Use the publication as programming space|#16: Kunsthal Gent will always be a construction site.|#2: Bring something new to the city of Ghent.|#84: The White Cube is a lie.|#124: Do less, do it better.|#17: An exhibition is never finished.|#82: Clean and sterile looks professional, but really boring.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#68: Once in a while we need to get out of utopia and get something done.|#111: Do it together.|#89: Build-in impurity within the organisation.|#51: How do we invite the true unknown?|#81: Things come alive when there is friction.|#119: Be a space of production.|#53: Immaterial support for artists is important.|#94: No objections? Just do it.|#65: No excuses: Thursday morning, team meeting.|#34: We pay artists.|#40: Follow the artist|#132: Things will always look weird when you’re the first doing it.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#39: Be the early stepping stone in an artist’s career|#14: Can you also remain a toddler institution?|#107: Build a community / scene.|#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.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#30: Don’t work with artists who are assholes.|#15: Kunsthal Gent aims to be an extension of public space.|#90: The best systems have a failure or ‘a hole’ in them…|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#64: Arrange a distribution of forces.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#99: Evolve according to changing needs.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#61: No all male install teams.|#20: Are exhibitions the most suitable form for the art that we present?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#127: Remain practical: what happens to the work in an endless exhibition?|#55: Keep basic human needs on the forefront.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#4: Pay what you can.|#91: Embrace doubt.|#36: We support production separately.|#105: Kunsthal Gent is local in scale, but globally connected.|#44: No name tags at dinner.|#92: We’re a learning organisation.|#19: Have fun at the exhibition.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#98: The success of it will not lie in the result but in the process.|#54: What about disabled artists?|#29: We make the program for the artist that we exhibit.|#35: The artist fee should be good.|#74: Last one out turns of the lights.|#37: Operate with radical transparency.|#10: Don’t be obsessed with numbers.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#26: More artists, less borders.|#56: Take a lunch break.|#21: Live with the exhibition, spend time with it.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#6: Demand that visitors are active.|#112: Spaces today don’t need to be curated, but occupied.|#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.|#32: Be pan-gender polyphonic.|#59: Always protect the floor when painting (or pouring concrete)|
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29.01.2021 20:00

Exhibition opening, pavillion KHG#03

Pay what you can

Aline Bouvy:
As Sirens Rise and Fall

As Sirens Rise and Fall

An installation by Aline Bouvy
in collaboration with Pierre Dozin and Julien Bouille


Challenging the police logo|
Dabbing the forehead with wonder oil
Weaving the spider web
Being afraid of your number
Rolling naked in yoghurt
Building a hut with pillows

Parterre - down-to-earth detox

- Emeline Depas




One wonders why there are so few symphonies written in F sharp minor. Could it be because of the melancholic sound, the haunting eloquence of that key, the obscure bitterness but also intense passion that resounds through it? The plaintive and haunting song of the tempting mermaids, figures of the nourishing sea as well as of the destructive ocean, could probably be imagined in F sharp minor. However, it would have to be audible under water, like the device invented in 1820 by engineer Charles Cagniard de Latour, called the siren, which is capable of producing very high-pitched tones of varying frequencies: a modulating, ascending and descending tone. Now that this sound signal has become widely used to warn of danger, its codification has become universal.

Four identical remote-controlled cars have been assigned their own voice. They are vehicles-annex-instruments, whose singing is mostly in F sharp minor, and their interaction as a duo, trio or quartet depends on the persons driving them. The possibilities of combinations are endless. They are activated and developed according to the way in which the vehicles are guided.

Control is simulated by means of the remote control and the steering wheel. The track is free, there are no signposts, with only the walls of the room acting as boundaries.

Aline Bouvy

°1974, Brussels (BE) – lives and works in Brussels (BE)

Aline Bouvy’s multidisciplinary practice is a way of expressing her refusal to compromise and adapt to systems in our society which aim to regulate our longing, conforming it to the norms and values which shape that same society. Bouvy questions and denounces how the images we have of ourselves and of humanity are determined by this morality.

In this way, Bouvy is attracted to the non-conventional - not to fetishize elements from the margins of society, but from a wish to normalise what is considered out-of-bounds, and thereby adjusting the prevailing morality. In earlier works, Aline Bouvy used with images of stray dogs and weeds, or made bas-reliefs of anuses with phallic shapes stuck in them. The male nude is a recurrent motive in her work, again not as a fetish but rather a counterweight to the naked female body that seems to be everywhere, not only throughout art history but also in our contemporary visual culture.

Aline Bouvy questions how we handle contemporary cultural production and takes a stand against norms and values society imposes upon us.