#65: No excuses: Thursday morning, team meeting.|#20: Are exhibitions the most suitable form for the art that we present?|#127: Remain practical: what happens to the work in an endless exhibition?|#91: Embrace doubt.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#56: Take a lunch break.|#35: The artist fee should be good.|#36: We support production separately.|#55: Keep basic human needs on the forefront.|#39: Be the early stepping stone in an artist’s career|#124: Do less, do it better.|#51: How do we invite the true unknown?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#15: Kunsthal Gent aims to be an extension of public space.|#53: Immaterial support for artists is important.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#74: Last one out turns of the lights.|#6: Demand that visitors are active.|#28: Make Contracts.|#26: More artists, less borders.|#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.|#61: No all male install teams.|#14: Can you also remain a toddler institution?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#65: No excuses: Thursday morning, team meeting.|#20: Are exhibitions the most suitable form for the art that we present?|#127: Remain practical: what happens to the work in an endless exhibition?|#91: Embrace doubt.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#56: Take a lunch break.|#35: The artist fee should be good.|#36: We support production separately.|#55: Keep basic human needs on the forefront.|#39: Be the early stepping stone in an artist’s career|#124: Do less, do it better.|#51: How do we invite the true unknown?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#15: Kunsthal Gent aims to be an extension of public space.|#53: Immaterial support for artists is important.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#74: Last one out turns of the lights.|#6: Demand that visitors are active.|#28: Make Contracts.|#26: More artists, less borders.|#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.|#61: No all male install teams.|#14: Can you also remain a toddler institution?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|
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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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