#64: Arrange a distribution of forces.|#124: Do less, do it better.|#117: Consider design, organisational structures and architecture as programme.|#4: Pay what you can.|#92: We’re a learning organisation.|#21: Live with the exhibition, spend time with it.|#132: Things will always look weird when you’re the first doing it.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#62: Be kind. Full dishwasher: empty it.|#65: No excuses: Thursday morning, team meeting.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#28: Make Contracts.|#16: Kunsthal Gent will always be a construction site.|#137: Use the publication as programming space|#2: Bring something new to the city of Ghent.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#29: We make the program for the artist that we exhibit.|#98: The success of it will not lie in the result but in the process.|#119: Be a space of production.|#40: Follow the artist|#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.|#30: Don’t work with artists who are assholes.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#99: Evolve according to changing needs.|#64: Arrange a distribution of forces.|#124: Do less, do it better.|#117: Consider design, organisational structures and architecture as programme.|#4: Pay what you can.|#92: We’re a learning organisation.|#21: Live with the exhibition, spend time with it.|#132: Things will always look weird when you’re the first doing it.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#62: Be kind. Full dishwasher: empty it.|#65: No excuses: Thursday morning, team meeting.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#28: Make Contracts.|#16: Kunsthal Gent will always be a construction site.|#137: Use the publication as programming space|#2: Bring something new to the city of Ghent.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#29: We make the program for the artist that we exhibit.|#98: The success of it will not lie in the result but in the process.|#119: Be a space of production.|#40: Follow the artist|#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.|#30: Don’t work with artists who are assholes.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#99: Evolve according to changing needs.|
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06.11.2018 00:00

Pay what you can

Lezing / Performance:
Chris Fitzpatrick (US / Kunstverein Munchen)

Chris Fitzpatrick talks about 'All the exhibitions that don't immediately seem to be exhibitions at Kunstverein München e.V., so far'. Next to his talk Chris also invites Erik Thys with Conglomerate for piano and sequencer (2018 – 13'), who on his turn invites Alain Franco to perform the human part of this piece.

Chris Fitzpatrick (New York, 1978) is the director of Kunstverein München, a 195-year-old contemporary art institution in Munich, Germany. From 2012–2015 he was the director of Objectif Exhibitions in Antwerp, Belgium. He has independently curated exhibitions in Austria, China, Estonia, Italy, Lithuania, Mexico, and the United States.

Erik Thys (b. 1961, lives in Brussels) is an artist, composer, writer and psychiatrist. Thys has exhibited and performed his work at Küchenausstellung Vienna (2018), Palais de Tokyo, Paris (2016); Saint Mary’s Cathedral, San Francisco (2015); Objectif Exhibitions Antwerp (2014); Wiels Contemporary Art Centre, Brussels (2014, 2011); Castillo/Corrales, Paris (2013); the Artist’s Institute, New York (2013); Galerie Micheline Szwajcer, Antwerp (2012); Berlin Biennale (2008); and many others.

Alain Franco was born in Antwerp. He did musical studies in Belgian conservatories and post-master studies in France. He worked as a musician (playing conducting) with orchestras and ensembles in Europe, both in Classical and Contemporary repertoire. He focused since a few years on collaborations with choreographers and performance artists. Projects include: 'Figures de voisinage' (Jean-Luc Ducourt), 'Zeitung' (Anne Teresa de Keersmaeker), 'Tres Scripturae' (Etienne Guilloteau), 'Songs of Love and War' (Deufert+Plischke). Currently working with Meg Suart (Munich Kamerspiele , 2012) as well as with 'Akademie der Künste' in Berlin.

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