#44: No name tags at dinner.|#16: Kunsthal Gent will always be a construction site.|#90: The best systems have a failure or ‘a hole’ in them…|#81: Things come alive when there is friction.|#39: Be the early stepping stone in an artist’s career|#64: Arrange a distribution of forces.|#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.|#99: Evolve according to changing needs.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#112: Spaces today don’t need to be curated, but occupied.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#56: Take a lunch break.|#53: Immaterial support for artists is important.|#2: Bring something new to the city of Ghent.|#117: Consider design, organisational structures and architecture as programme.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#94: No objections? Just do it.|#92: We’re a learning organisation.|#30: Don’t work with artists who are assholes.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#10: Don’t be obsessed with numbers.|#20: Are exhibitions the most suitable form for the art that we present?|#15: Kunsthal Gent aims to be an extension of public space.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#54: What about disabled artists?|#44: No name tags at dinner.|#16: Kunsthal Gent will always be a construction site.|#90: The best systems have a failure or ‘a hole’ in them…|#81: Things come alive when there is friction.|#39: Be the early stepping stone in an artist’s career|#64: Arrange a distribution of forces.|#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.|#99: Evolve according to changing needs.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#112: Spaces today don’t need to be curated, but occupied.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#56: Take a lunch break.|#53: Immaterial support for artists is important.|#2: Bring something new to the city of Ghent.|#117: Consider design, organisational structures and architecture as programme.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#94: No objections? Just do it.|#92: We’re a learning organisation.|#30: Don’t work with artists who are assholes.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#10: Don’t be obsessed with numbers.|#20: Are exhibitions the most suitable form for the art that we present?|#15: Kunsthal Gent aims to be an extension of public space.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#54: What about disabled artists?|
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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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