#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.|#56: Take a lunch break.|#34: We pay artists.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#107: Build a community / scene.|#44: No name tags at dinner.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#64: Arrange a distribution of forces.|#112: Spaces today don’t need to be curated, but occupied.|#21: Live with the exhibition, spend time with it.|#20: Are exhibitions the most suitable form for the art that we present?|#55: Keep basic human needs on the forefront.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#68: Once in a while we need to get out of utopia and get something done.|#51: How do we invite the true unknown?|#32: Be pan-gender polyphonic.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#2: Bring something new to the city of Ghent.|#29: We make the program for the artist that we exhibit.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#99: Evolve according to changing needs.|#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.|#56: Take a lunch break.|#34: We pay artists.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#107: Build a community / scene.|#44: No name tags at dinner.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#64: Arrange a distribution of forces.|#112: Spaces today don’t need to be curated, but occupied.|#21: Live with the exhibition, spend time with it.|#20: Are exhibitions the most suitable form for the art that we present?|#55: Keep basic human needs on the forefront.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#68: Once in a while we need to get out of utopia and get something done.|#51: How do we invite the true unknown?|#32: Be pan-gender polyphonic.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#2: Bring something new to the city of Ghent.|#29: We make the program for the artist that we exhibit.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#99: Evolve according to changing needs.|
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15.12.2022 19:30

Price: € 10

B.A.A.D.M. presents: Abigail Toll, Aleksandra Słyż, Linus Hillborg

BAADM presents: an evening full of electronica and electro-acoustic ambient drones.

There is no presale, tickets (€10) are only sold at the door.

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Abigail Toll

Abigail Toll is an experimental music artist from Berlin. Her psychoacoustic worlds of sound are textural, often sustained & emotional reactions to the political mechanisms that surround us. In 2018, she was artist in residence for the Amplify Berlin programme with Caterina Barbieri & Maya Shenfeld. During that period, she released her first EP ‘Old World | New Ruins’ under the name Ionian Death Robes (with Laury Achten). Her solo debut ‘Matrices of Vision’ will soon be out on Shelter Press.

Listen: https://abigailtoll.bandcamp.com/album/old-world-new-ruins

Abigail Tol
Linus Hillborg

Swedish composer / sound artist Linus Hillborg is active in various fields, ranging from experimental music and audiovisual installations to post-punk and noise bands. His solo work focusses on the “temporality” of sound. He combines modular analogue synths with his own programmed digital sounds, as well as acoustic instrumentation, improvised elements, and various tape-recorder techniques.
On his new album ‘Magelungsverket’ (Moloton, 2021) he takes listeners along on a journey through desperate soundscapes of electro-acoustic orchestral arrangements that seep through in rich harmonic synthesis.

Listen: https://moloton.bandcamp.com/album/magelungsverket

Linus Hillborg1
Aleksandra Słyż

Aleksandra Słyż is a Polish composer, sound designer and sound engineer currently living between Stockholm and Poznań. In her live shows, Aleksandra focuses on finding subtle connections between acoustic instruments and modular synths, creating rich and diverse drone structures that slowly but intensely pulse and resonate in the surrounding space.
An other big part of her artistic practice is “interactive sonification systems”. Since 2017 she has been conducting artistic research, applying practical experiments to motion sonification and human proprioceptive reflexes and various sorts of interactions. Aleksandra has already presented her work at various music and film festivals in Europe and the US, including the Avant Art Festival, Between Festival, Unsound, Up To Date Festival.

Listen: https://slyzaleksandra.bandcamp.com/album/a-vibrant-touch

Organised in partnership with Ancienne Belgique and with the support of Liveurope, the first pan-European initiative supporting concert venues in their efforts to promote emerging European artists. Liveurope is co-funded by the Creative Europe programme of the European Union.

A Slyz credits Tomasz Koszewnik web