#62: Be kind. Full dishwasher: empty it.|#30: Don’t work with artists who are assholes.|#112: Spaces today don’t need to be curated, but occupied.|#40: Follow the artist|#2: Bring something new to the city of Ghent.|#53: Immaterial support for artists is important.|#21: Live with the exhibition, spend time with it.|#89: Build-in impurity within the organisation.|#117: Consider design, organisational structures and architecture as programme.|#37: Operate with radical transparency.|#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.|#68: Once in a while we need to get out of utopia and get something done.|#137: Use the publication as programming space|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#82: Clean and sterile looks professional, but really boring.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#39: Be the early stepping stone in an artist’s career|#4: Pay what you can.|#91: Embrace doubt.|#64: Arrange a distribution of forces.|#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.|#29: We make the program for the artist that we exhibit.|#99: Evolve according to changing needs.|#62: Be kind. Full dishwasher: empty it.|#30: Don’t work with artists who are assholes.|#112: Spaces today don’t need to be curated, but occupied.|#40: Follow the artist|#2: Bring something new to the city of Ghent.|#53: Immaterial support for artists is important.|#21: Live with the exhibition, spend time with it.|#89: Build-in impurity within the organisation.|#117: Consider design, organisational structures and architecture as programme.|#37: Operate with radical transparency.|#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.|#68: Once in a while we need to get out of utopia and get something done.|#137: Use the publication as programming space|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#82: Clean and sterile looks professional, but really boring.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#39: Be the early stepping stone in an artist’s career|#4: Pay what you can.|#91: Embrace doubt.|#64: Arrange a distribution of forces.|#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.|#29: We make the program for the artist that we exhibit.|#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