#84: The White Cube is a lie.|#137: Use the publication as programming space|#32: Be pan-gender polyphonic.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#54: What about disabled artists?|#17: An exhibition is never finished.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#53: Immaterial support for artists is important.|#61: No all male install teams.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#36: We support production separately.|#111: Do it together.|#98: The success of it will not lie in the result but in the process.|#6: Demand that visitors are active.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#19: Have fun at the exhibition.|#26: More artists, less borders.|#14: Can you also remain a toddler institution?|#117: Consider design, organisational structures and architecture as programme.|#35: The artist fee should be good.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#56: Take a lunch break.|#51: How do we invite the true unknown?|#84: The White Cube is a lie.|#137: Use the publication as programming space|#32: Be pan-gender polyphonic.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#54: What about disabled artists?|#17: An exhibition is never finished.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#53: Immaterial support for artists is important.|#61: No all male install teams.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#36: We support production separately.|#111: Do it together.|#98: The success of it will not lie in the result but in the process.|#6: Demand that visitors are active.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#19: Have fun at the exhibition.|#26: More artists, less borders.|#14: Can you also remain a toddler institution?|#117: Consider design, organisational structures and architecture as programme.|#35: The artist fee should be good.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#56: Take a lunch break.|#51: How do we invite the true unknown?|
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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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