#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#37: Operate with radical transparency.|#111: Do it together.|#36: We support production separately.|#90: The best systems have a failure or ‘a hole’ in them…|#40: Follow the artist|#16: Kunsthal Gent will always be a construction site.|#92: We’re a learning organisation.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#82: Clean and sterile looks professional, but really boring.|#35: The artist fee should be good.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#84: The White Cube is a lie.|#34: We pay artists.|#127: Remain practical: what happens to the work in an endless exhibition?|#68: Once in a while we need to get out of utopia and get something done.|#53: Immaterial support for artists is important.|#29: We make the program for the artist that we exhibit.|#89: Build-in impurity within the organisation.|#132: Things will always look weird when you’re the first doing it.|#28: Make Contracts.|#81: Things come alive when there is friction.|#39: Be the early stepping stone in an artist’s career|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#37: Operate with radical transparency.|#111: Do it together.|#36: We support production separately.|#90: The best systems have a failure or ‘a hole’ in them…|#40: Follow the artist|#16: Kunsthal Gent will always be a construction site.|#92: We’re a learning organisation.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#82: Clean and sterile looks professional, but really boring.|#35: The artist fee should be good.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#84: The White Cube is a lie.|#34: We pay artists.|#127: Remain practical: what happens to the work in an endless exhibition?|#68: Once in a while we need to get out of utopia and get something done.|#53: Immaterial support for artists is important.|#29: We make the program for the artist that we exhibit.|#89: Build-in impurity within the organisation.|#132: Things will always look weird when you’re the first doing it.|#28: Make Contracts.|#81: Things come alive when there is friction.|#39: Be the early stepping stone in an artist’s career|
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25.06.2023 17:00

Pay what you can

Curatorial Studies:
Body In Space, Body In Time

Based on the Fishbowl pedagogical method, this section is imagined as an activation of a conversation as a game and a possible collective performance. The conversation aims to develop open discussions around the works in the exhibition between the locals and the curators. A fishbowl conversation is a form of horizontal and non-hierarchical dialogue used when discussing topics within large groups.

Reservations are required, via: sep.sharif@gmail.com

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Sepehr Sharifzadeh is a creative producer, agent, and curator born in Tehran and based in Brussels. He co-founded the first international theatre agency in Iran, aiming to facilitate cross-cultural relations between Iranian theatre and the International performing arts scene. Since then he has worked with several international festivals and organisations. He’s passionate about festivals, philology, anthropology, community building, networking, communication, and languages

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