#81: Things come alive when there is friction.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#4: Pay what you can.|#117: Consider design, organisational structures and architecture as programme.|#61: No all male install teams.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#16: Kunsthal Gent will always be a construction site.|#94: No objections? Just do it.|#91: Embrace doubt.|#64: Arrange a distribution of forces.|#32: Be pan-gender polyphonic.|#39: Be the early stepping stone in an artist’s career|#124: Do less, do it better.|#89: Build-in impurity within the organisation.|#37: Operate with radical transparency.|#26: More artists, less borders.|#82: Clean and sterile looks professional, but really boring.|#15: Kunsthal Gent aims to be an extension of public space.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#21: Live with the exhibition, spend time with it.|#2: Bring something new to the city of Ghent.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#30: Don’t work with artists who are assholes.|#14: Can you also remain a toddler institution?|#81: Things come alive when there is friction.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#4: Pay what you can.|#117: Consider design, organisational structures and architecture as programme.|#61: No all male install teams.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#16: Kunsthal Gent will always be a construction site.|#94: No objections? Just do it.|#91: Embrace doubt.|#64: Arrange a distribution of forces.|#32: Be pan-gender polyphonic.|#39: Be the early stepping stone in an artist’s career|#124: Do less, do it better.|#89: Build-in impurity within the organisation.|#37: Operate with radical transparency.|#26: More artists, less borders.|#82: Clean and sterile looks professional, but really boring.|#15: Kunsthal Gent aims to be an extension of public space.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#21: Live with the exhibition, spend time with it.|#2: Bring something new to the city of Ghent.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#30: Don’t work with artists who are assholes.|#14: Can you also remain a toddler institution?|
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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) studied at the Ecole de Recherche Graphique (ERG) in Brussels and at the Jan Van Eyck Academie in Maastricht. At the base of her multidisciplinary practice is her refusal to compromise or adapt to systems of our society that aim to regulate our desire, conforming it to the norms and values that form that same society. Through the implementation of poetic strategies and a rigorous aesthetic with engaged humor, she questions the hierarchies of established powers and patriarchal systems. Her practice strives to confront what is considered outside the norm, through narratives often rooted in the very context of the places where she presents her work, simultaneously questioning the role of the artist and their engagement through contemporary cultural productions.

MDC KHG 20210129 AB 003 LR