#107: Build a community / scene.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#111: Do it together.|#20: Are exhibitions the most suitable form for the art that we present?|#112: Spaces today don’t need to be curated, but occupied.|#14: Can you also remain a toddler institution?|#99: Evolve according to changing needs.|#35: The artist fee should be good.|#62: Be kind. Full dishwasher: empty it.|#59: Always protect the floor when painting (or pouring concrete)|#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.|#89: Build-in impurity within the organisation.|#98: The success of it will not lie in the result but in the process.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#61: No all male install teams.|#26: More artists, less borders.|#37: Operate with radical transparency.|#39: Be the early stepping stone in an artist’s career|#28: Make Contracts.|#94: No objections? Just do it.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#65: No excuses: Thursday morning, team meeting.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#105: Kunsthal Gent is local in scale, but globally connected.|#68: Once in a while we need to get out of utopia and get something done.|#107: Build a community / scene.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#111: Do it together.|#20: Are exhibitions the most suitable form for the art that we present?|#112: Spaces today don’t need to be curated, but occupied.|#14: Can you also remain a toddler institution?|#99: Evolve according to changing needs.|#35: The artist fee should be good.|#62: Be kind. Full dishwasher: empty it.|#59: Always protect the floor when painting (or pouring concrete)|#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.|#89: Build-in impurity within the organisation.|#98: The success of it will not lie in the result but in the process.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#61: No all male install teams.|#26: More artists, less borders.|#37: Operate with radical transparency.|#39: Be the early stepping stone in an artist’s career|#28: Make Contracts.|#94: No objections? Just do it.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#65: No excuses: Thursday morning, team meeting.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#105: Kunsthal Gent is local in scale, but globally connected.|#68: Once in a while we need to get out of utopia and get something done.|
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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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