#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#81: Things come alive when there is friction.|#98: The success of it will not lie in the result but in the process.|#82: Clean and sterile looks professional, but really boring.|#2: Bring something new to the city of Ghent.|#4: Pay what you can.|#91: Embrace doubt.|#20: Are exhibitions the most suitable form for the art that we present?|#53: Immaterial support for artists is important.|#6: Demand that visitors are active.|#117: Consider design, organisational structures and architecture as programme.|#29: We make the program for the artist that we exhibit.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#124: Do less, do it better.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#89: Build-in impurity within the organisation.|#105: Kunsthal Gent is local in scale, but globally connected.|#59: Always protect the floor when painting (or pouring concrete)|#74: Last one out turns of the lights.|#19: Have fun at the exhibition.|#16: Kunsthal Gent will always be a construction site.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#81: Things come alive when there is friction.|#98: The success of it will not lie in the result but in the process.|#82: Clean and sterile looks professional, but really boring.|#2: Bring something new to the city of Ghent.|#4: Pay what you can.|#91: Embrace doubt.|#20: Are exhibitions the most suitable form for the art that we present?|#53: Immaterial support for artists is important.|#6: Demand that visitors are active.|#117: Consider design, organisational structures and architecture as programme.|#29: We make the program for the artist that we exhibit.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#124: Do less, do it better.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#89: Build-in impurity within the organisation.|#105: Kunsthal Gent is local in scale, but globally connected.|#59: Always protect the floor when painting (or pouring concrete)|#74: Last one out turns of the lights.|#19: Have fun at the exhibition.|#16: Kunsthal Gent will always be a construction site.|
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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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