#98: The success of it will not lie in the result but in the process.|#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.|#92: We’re a learning organisation.|#34: We pay artists.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#55: Keep basic human needs on the forefront.|#21: Live with the exhibition, spend time with it.|#54: What about disabled artists?|#36: We support production separately.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#2: Bring something new to the city of Ghent.|#105: Kunsthal Gent is local in scale, but globally connected.|#81: Things come alive when there is friction.|#124: Do less, do it better.|#61: No all male install teams.|#20: Are exhibitions the most suitable form for the art that we present?|#74: Last one out turns of the lights.|#59: Always protect the floor when painting (or pouring concrete)|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#56: Take a lunch break.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#89: Build-in impurity within the organisation.|#132: Things will always look weird when you’re the first doing it.|#98: The success of it will not lie in the result but in the process.|#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.|#92: We’re a learning organisation.|#34: We pay artists.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#55: Keep basic human needs on the forefront.|#21: Live with the exhibition, spend time with it.|#54: What about disabled artists?|#36: We support production separately.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#2: Bring something new to the city of Ghent.|#105: Kunsthal Gent is local in scale, but globally connected.|#81: Things come alive when there is friction.|#124: Do less, do it better.|#61: No all male install teams.|#20: Are exhibitions the most suitable form for the art that we present?|#74: Last one out turns of the lights.|#59: Always protect the floor when painting (or pouring concrete)|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#56: Take a lunch break.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#89: Build-in impurity within the organisation.|#132: Things will always look weird when you’re the first doing it.|
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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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