#40: Follow the artist|#55: Keep basic human needs on the forefront.|#112: Spaces today don’t need to be curated, but occupied.|#20: Are exhibitions the most suitable form for the art that we present?|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#94: No objections? Just do it.|#68: Once in a while we need to get out of utopia and get something done.|#91: Embrace doubt.|#127: Remain practical: what happens to the work in an endless exhibition?|#19: Have fun at the exhibition.|#105: Kunsthal Gent is local in scale, but globally connected.|#61: No all male install teams.|#84: The White Cube is a lie.|#44: No name tags at dinner.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#30: Don’t work with artists who are assholes.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#107: Build a community / scene.|#99: Evolve according to changing needs.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#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.|#17: An exhibition is never finished.|#40: Follow the artist|#55: Keep basic human needs on the forefront.|#112: Spaces today don’t need to be curated, but occupied.|#20: Are exhibitions the most suitable form for the art that we present?|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#94: No objections? Just do it.|#68: Once in a while we need to get out of utopia and get something done.|#91: Embrace doubt.|#127: Remain practical: what happens to the work in an endless exhibition?|#19: Have fun at the exhibition.|#105: Kunsthal Gent is local in scale, but globally connected.|#61: No all male install teams.|#84: The White Cube is a lie.|#44: No name tags at dinner.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#30: Don’t work with artists who are assholes.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#107: Build a community / scene.|#99: Evolve according to changing needs.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#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.|#17: An exhibition is never finished.|
This website uses cookies to improve your user experience. More info

14.03.2019 20:00

Several excerpts from the collection will be presented and accompanied by a guided tour/lecture by Michiel De Cleene

Pay what you can

Book launch:
Reference Guide by Michiel De Cleene (Roma Publication #345)

On 14 March 2019, Reference Guide (Roma Publications) will be presented in Kunsthal Gent. Several excerpts from the collection will be presented and accompanied by a guided tour/lecture by Michiel De Cleene.

Reference Guide is a collection of entries, connected and fuelled by cross-references. These not only determine the characteristics of the collection and its use, but they are also the mechanism behind its expansion. Although the main focus of Reference Guide lies within moments of technological candour, the collection demonstrates a surprisingly high interest in characters and phenomena along the side-lines of these episodes and displays a severe tendency to digress.

Reference Guide allows each reader to construct his or her own path through the different entries. This movement is similar to the one you might make within l’Encyclopédie, Winkler Prins, Encyclopaedia Britannica, Wikipedia, etc.; a movement that might take you from the entry on the aorta, to the heart, to surgeon, to scalpel, to knife, to axe, to forestry only to end up at silver birch or – with a different turn somewhere along the way – at windmill, oil painting, carbon monoxide, the moon or keel.

The DIN A4-pages in this book are a uniform way of presenting the heterogeneous material this project consists of. The collection incorporates modified carousel projectors, two pacemakers taking each other for a heart, transcripts, framed pictures, manuals, short films, a giant billboard, recordings, altered batteries, a collection of low pressure sodium lamps, a carpet, a pronouncing dictionary, postcards, eighty pigeon rings on a rope, seven scale-models of a Himalayan mountain, etc.

This book is the reference guide to this collection: for each entry, it gathers both the DIN A4-page(s) and – in the margins – the provisional set of cross-references*.

An updated version of this reference guide accompanies every iteration of the collection, whether it manifests itself as an exhibition, an archive, a lecture, a website, a guided tour, etc.

Michiel De Cleene is a researcher at KASK & Conservatorium, the School of Arts of HOGENT and howest. The publication Reference Guide is part of the eponymous research project and was financed by the HOGENT Arts Research Fund.

* Each copy of Reference Guide is a paused record in the midst of an unrelenting cross-referential expansion.
Tfl_005

IMAGES
Utility_001
Chemainus_003