#119: Be a space of production.|#37: Operate with radical transparency.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#137: Use the publication as programming space|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#68: Once in a while we need to get out of utopia and get something done.|#105: Kunsthal Gent is local in scale, but globally connected.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#20: Are exhibitions the most suitable form for the art that we present?|#34: We pay artists.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#39: Be the early stepping stone in an artist’s career|#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.|#40: Follow the artist|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#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.|#112: Spaces today don’t need to be curated, but occupied.|#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.|#44: No name tags at dinner.|#30: Don’t work with artists who are assholes.|#59: Always protect the floor when painting (or pouring concrete)|#127: Remain practical: what happens to the work in an endless exhibition?|#28: Make Contracts.|#119: Be a space of production.|#37: Operate with radical transparency.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#137: Use the publication as programming space|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#68: Once in a while we need to get out of utopia and get something done.|#105: Kunsthal Gent is local in scale, but globally connected.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#20: Are exhibitions the most suitable form for the art that we present?|#34: We pay artists.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#39: Be the early stepping stone in an artist’s career|#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.|#40: Follow the artist|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#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.|#112: Spaces today don’t need to be curated, but occupied.|#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.|#44: No name tags at dinner.|#30: Don’t work with artists who are assholes.|#59: Always protect the floor when painting (or pouring concrete)|#127: Remain practical: what happens to the work in an endless exhibition?|#28: Make Contracts.|
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05.04.2019 19:00

Invited by KUNSTHALLE São Paulo

Pay what you can

Opening:
Estrutura Insuperável by Daniel de Paula

For its second exhibition inside Kunsthal Gent, KUNSTHALLE São Paulo invites Brazilian artist Daniel de Paula. His work and investigations reflect upon the production of space in our everyday lives as the reproduction and affirmation of dynamics of power and dominance, thus revealing critical concerns upon the political, social, economic, and historical structures that shape and govern places and relationships.

By means of a variety of strategies such as extensive negotiations within institutions, as well as the appropriation, displacement, and recontextualisation of preexisting narrative-embedded objects and images, his installations, sculptures, actions, and videos are concerned with the underlying operating systems of the world and emphasize the indivisibility between materials and the contexts from which they arise.

On the occasion of the exhibition at KUNSTHALLE São Paulo, the artist displays an accumulation of works within a conceptual schema entitled ‘estrutura insuperável’, yet without use of individual titles, dates, or immediately discernible and delimited frontiers between the wide-ranging sculptural manifestations. High-frequency trading antennas, conveyor belts, geotechnical core-samples, inscribed fragments of marble, a lunar rock, ballast water, and images of flare inspections at petroleum and gas refineries symbiotically coexist alongside viewers and architectural specificities that inhabit the exhibition space, all in an attempt to concentrate and correlate presumably dissociable objects in order to highlight the complex social forces concealed within materiality.

About the artist

Daniel de Paula (Boston, 1987) is a Brazilian artist currently working at the Jan van Eyck Academie and based between the Maastricht, Netherlands and São Paulo, Brazil.



Kunsthal Gent hosts a special guest: KUNSTHALLE São Paulo, initiated in 2012 by Brazilian curator Marina Coelho. In 2017 KUNSTHALLE São Paulo ended its activities in Sao Paulo to begin a series of international projects. Under the roof of Kunsthal Gent, Marina Coelho will present a series of projects and exhibitions of (inter)national artists. Kunsthalle São Paulo is characterized by experimentation and the creation of discussions around current social and contemporary art issues. Artists are invited to develop site-specific projects, most often in response to the local context.

Exhibition runs until Sunday 12/05

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