#137: Use the publication as programming space|#28: Make Contracts.|#82: Clean and sterile looks professional, but really boring.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#81: Things come alive when there is friction.|#44: No name tags at dinner.|#39: Be the early stepping stone in an artist’s career|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#127: Remain practical: what happens to the work in an endless exhibition?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#105: Kunsthal Gent is local in scale, but globally connected.|#91: Embrace doubt.|#99: Evolve according to changing needs.|#26: More artists, less borders.|#61: No all male install teams.|#37: Operate with radical transparency.|#51: How do we invite the true unknown?|#36: We support production separately.|#53: Immaterial support for artists is important.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#2: Bring something new to the city of Ghent.|#35: The artist fee should be good.|#124: Do less, do it better.|#84: The White Cube is a lie.|#56: Take a lunch break.|#137: Use the publication as programming space|#28: Make Contracts.|#82: Clean and sterile looks professional, but really boring.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#81: Things come alive when there is friction.|#44: No name tags at dinner.|#39: Be the early stepping stone in an artist’s career|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#127: Remain practical: what happens to the work in an endless exhibition?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#105: Kunsthal Gent is local in scale, but globally connected.|#91: Embrace doubt.|#99: Evolve according to changing needs.|#26: More artists, less borders.|#61: No all male install teams.|#37: Operate with radical transparency.|#51: How do we invite the true unknown?|#36: We support production separately.|#53: Immaterial support for artists is important.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#2: Bring something new to the city of Ghent.|#35: The artist fee should be good.|#124: Do less, do it better.|#84: The White Cube is a lie.|#56: Take a lunch break.|
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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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