#84: The White Cube is a lie.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#89: Build-in impurity within the organisation.|#119: Be a space of production.|#56: Take a lunch break.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#21: Live with the exhibition, spend time with it.|#19: Have fun at the exhibition.|#117: Consider design, organisational structures and architecture as programme.|#92: We’re a learning organisation.|#34: We pay artists.|#28: Make Contracts.|#17: An exhibition is never finished.|#65: No excuses: Thursday morning, team meeting.|#37: Operate with radical transparency.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#61: No all male install teams.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#44: No name tags at dinner.|#98: The success of it will not lie in the result but in the process.|#32: Be pan-gender polyphonic.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#29: We make the program for the artist that we exhibit.|#84: The White Cube is a lie.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#89: Build-in impurity within the organisation.|#119: Be a space of production.|#56: Take a lunch break.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#21: Live with the exhibition, spend time with it.|#19: Have fun at the exhibition.|#117: Consider design, organisational structures and architecture as programme.|#92: We’re a learning organisation.|#34: We pay artists.|#28: Make Contracts.|#17: An exhibition is never finished.|#65: No excuses: Thursday morning, team meeting.|#37: Operate with radical transparency.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#61: No all male install teams.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#44: No name tags at dinner.|#98: The success of it will not lie in the result but in the process.|#32: Be pan-gender polyphonic.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#29: We make the program for the artist that we exhibit.|
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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