#65: No excuses: Thursday morning, team meeting.|#55: Keep basic human needs on the forefront.|#30: Don’t work with artists who are assholes.|#32: Be pan-gender polyphonic.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#62: Be kind. Full dishwasher: empty it.|#39: Be the early stepping stone in an artist’s career|#17: An exhibition is never finished.|#53: Immaterial support for artists is important.|#84: The White Cube is a lie.|#117: Consider design, organisational structures and architecture as programme.|#16: Kunsthal Gent will always be a construction site.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#90: The best systems have a failure or ‘a hole’ in them…|#56: Take a lunch break.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#20: Are exhibitions the most suitable form for the art that we present?|#92: We’re a learning organisation.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#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.|#14: Can you also remain a toddler institution?|#51: How do we invite the true unknown?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#6: Demand that visitors are active.|#65: No excuses: Thursday morning, team meeting.|#55: Keep basic human needs on the forefront.|#30: Don’t work with artists who are assholes.|#32: Be pan-gender polyphonic.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#62: Be kind. Full dishwasher: empty it.|#39: Be the early stepping stone in an artist’s career|#17: An exhibition is never finished.|#53: Immaterial support for artists is important.|#84: The White Cube is a lie.|#117: Consider design, organisational structures and architecture as programme.|#16: Kunsthal Gent will always be a construction site.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#90: The best systems have a failure or ‘a hole’ in them…|#56: Take a lunch break.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#20: Are exhibitions the most suitable form for the art that we present?|#92: We’re a learning organisation.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#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.|#14: Can you also remain a toddler institution?|#51: How do we invite the true unknown?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#6: Demand that visitors are active.|
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19.10.2018 00:00

Pay what you can

Lezing:
Gavin Wade, Eastside Projects

"We bouwen al tien jaar aan een kunstwerk."

"Wij werken via kunst - kunst als een essentiële menselijke taak."

"Wij willen nieuw leven."

"In de afgelopen tien jaar hebben we de opkomst gezien van een meer autoritaire samenleving. We zullen dit nooit accepteren."

"Geef bestaande structuren opnieuw vorm, als een manier om te overleven in een kapitalistische economie."

"Renoveer bestaande structuren, als een manier om te overleven in een kapitalistische economie."

Gavin Wade is een kunstenaar-curator, directeur van Eastside Projects - een ‘artist run multiverse’ in Birmingham, VK - en Senior Research Fellow binnen de School of art van Birmingham City University. Zijn recente boek 'Upcycle This Book' (2017) werd uitgegeven door Book Works en Stroom Den Haag en brengt teksten bijeen van de afgelopen 12 jaar, over het maken van kunst en over cureren als kunstenaar. Lopende projecten zijn ‘This is the Gallery and the Gallery is Many Things X’ in het vernieuwde Eastside Projects; 'Park Life', een tentoonstellingsproject voor kunst in de openbare ruimte in Banbury; en 'Station Clock' door Susan Philipsz (het 2 miljoen pond kostende Birmingham Big Art Project voor 2026 met HS2, de nieuwe hogesnelheidslijn); zijn doorlopende 'A-Z Display Units (After Kiesler & Krischanitz)' (2015-); en zijn doorlopende publicatieproject ‘Strategic Questions’ (2002-).

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