#10: Don’t be obsessed with numbers.|#90: The best systems have a failure or ‘a hole’ in them…|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#26: More artists, less borders.|#37: Operate with radical transparency.|#98: The success of it will not lie in the result but in the process.|#6: Demand that visitors are active.|#59: Always protect the floor when painting (or pouring concrete)|#82: Clean and sterile looks professional, but really boring.|#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.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#91: Embrace doubt.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#99: Evolve according to changing needs.|#34: We pay artists.|#51: How do we invite the true unknown?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#53: Immaterial support for artists is important.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#55: Keep basic human needs on the forefront.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#21: Live with the exhibition, spend time with it.|#28: Make Contracts.|#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?|#117: Consider design, organisational structures and architecture as programme.|#107: Build a community / scene.|#84: The White Cube is a lie.|#2: Bring something new to the city of Ghent.|#111: Do it together.|#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|#137: Use the publication as programming space|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#19: Have fun at the exhibition.|#30: Don’t work with artists who are assholes.|#74: Last one out turns of the lights.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#29: We make the program for the artist that we exhibit.|#68: Once in a while we need to get out of utopia and get something done.|#124: Do less, do it better.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#4: Pay what you can.|#56: Take a lunch break.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#16: Kunsthal Gent will always be a construction site.|#54: What about disabled artists?|#17: An exhibition is never finished.|#62: Don’t be a dick. Full dishwasher: empty it.|#94: No objections? Just do it.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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.|#14: Can you also remain a toddler institution?|#64: Arrange a distribution of forces.|#15: Kunsthal Gent aims to be an extension of public space.|#105: Kunsthal Gent is local in scale, but globally connected.|#32: Be pan-gender polyphonic.|#92: We’re a learning organisation.|#61: No all male install teams.|#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.|#112: Spaces today don’t need to be curated, but occupied.|#127: Remain practical: what happens to the work in an endless exhibition?|#35: The artist fee should be good.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#40: Follow the artist|#36: We support production separately.|#89: Build-in impurity within the organisation.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#119: Be a space of production.|#132: Things will always look weird when you’re the first doing it.|#10: Don’t be obsessed with numbers.|#90: The best systems have a failure or ‘a hole’ in them…|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#26: More artists, less borders.|#37: Operate with radical transparency.|#98: The success of it will not lie in the result but in the process.|#6: Demand that visitors are active.|#59: Always protect the floor when painting (or pouring concrete)|#82: Clean and sterile looks professional, but really boring.|#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.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#91: Embrace doubt.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#99: Evolve according to changing needs.|#34: We pay artists.|#51: How do we invite the true unknown?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#53: Immaterial support for artists is important.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#55: Keep basic human needs on the forefront.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#21: Live with the exhibition, spend time with it.|#28: Make Contracts.|#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?|#117: Consider design, organisational structures and architecture as programme.|#107: Build a community / scene.|#84: The White Cube is a lie.|#2: Bring something new to the city of Ghent.|#111: Do it together.|#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|#137: Use the publication as programming space|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#19: Have fun at the exhibition.|#30: Don’t work with artists who are assholes.|#74: Last one out turns of the lights.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#29: We make the program for the artist that we exhibit.|#68: Once in a while we need to get out of utopia and get something done.|#124: Do less, do it better.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#4: Pay what you can.|#56: Take a lunch break.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#16: Kunsthal Gent will always be a construction site.|#54: What about disabled artists?|#17: An exhibition is never finished.|#62: Don’t be a dick. Full dishwasher: empty it.|#94: No objections? Just do it.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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.|#14: Can you also remain a toddler institution?|#64: Arrange a distribution of forces.|#15: Kunsthal Gent aims to be an extension of public space.|#105: Kunsthal Gent is local in scale, but globally connected.|#32: Be pan-gender polyphonic.|#92: We’re a learning organisation.|#61: No all male install teams.|#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.|#112: Spaces today don’t need to be curated, but occupied.|#127: Remain practical: what happens to the work in an endless exhibition?|#35: The artist fee should be good.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#40: Follow the artist|#36: We support production separately.|#89: Build-in impurity within the organisation.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#119: Be a space of production.|#132: Things will always look weird when you’re the first doing it.|
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21.05.2021 20:00

Exhibition opening and performance

Pay what you can

Institute Of Things To Come:
Goda Palekaite + Quinsy Gario

This presentation is part of THE CONVENTION OF RESTORATIVE ANATOMY AND PROSOPOPEIA by The Institute of Things To Come

Opening exhibition by Goda Palekaite with a performance by Quinsy Gario, in the Old House of Kunsthal Gent. More info to follow soon.

THE INSTITUTE OF THINGS TO COME
The Institute of Things to Come is an itinerant art programme aimed at investigating forms of imaginative speculation as cultural strategies and methodologies for critical positions. Founded in 2017 by artist Ludovica Carbotta and curator Valerio Del Baglivo, each year The Institute focuses on a different theme, inviting artists to present works that interact with other disciplines. At the centre of each yearly theme are a series of artworks, interrogated through conferences projections, seminars and exhibitions. Moreover The Institute conducts a nine-months Associates Programme, allowing young participants to develop their practice and contribute to the public programme in concert with the yearly theme.
Since 2017 the programme has collaborated with Fondazione Sandretto Re Rebaudengo (Turin), Universita degli Studi di Torino, Grazer Kunstverein (Graz).


Goda Palekaite (Vilnius, 1987)
Goda Palekaitė is an artist and researcher whose work can be described as a combination of artistic, theatrical and anthropological practices. It evolves around long-term projects exploring the politics of historical narratives, the agency of dreams and collective imagination, and social conditions of creativity. Their outcomes usually manifest as performances, scenographies, installations, and texts. Her solo show “Legal Implications of a Dream” was recently opened at the RawArt gallery in Tel Aviv and the Art Cube Artists’ Studios, Jerusalem. In the last year her performances and installations have been presented at the “Swamp pavilion” in The Biennale Architettura 2018 in Venice, Contemporary Art Center (CAC) and the Lithuanian National Drama Theatre in Vilnius, and Kanal - Centre Pompidou in Brussels. In 2019 Palekaitė received The Golden Stage Cross (highest Lithuanian theatre award). Goda is based in Brussels and Vilnius.

Quinsy Gario is a visual and performance artist from the Caribbean islands that have Dutch colonization in common. He focuses on decolonial remembering and the actions that that remembering can engender. His most well-known work, Zwarte Piet Is Racisme (2011–2012), critiqued the general knowledge surrounding the racist Dutch figure and practice of Zwarte Piet (Black Pete), later bringing into the open the governmental institutional support that keeps the figure alive in the Netherlands. He has an academic background in media studies, gender studies and postcolonial studies, is a graduate of the Master Artistic Research program at the Royal Academy of Art, The Hague and was a recurring participant of the Black Europe Body Politics conference series.
He received the Royal Academy Master Thesis Prize 2017, the Black Excellence Award 2016, the Amsterdam Fringe Festival Silver Award 2015, the Dutch Caribbean Pearls Community Pearl Award 2014 and the Hollandse Nieuwe 12 Theatermakers Prize 2011. In 2017 he received a Humanity in Action Detroit Fellowship and in 2017/2018 he was a BAK Fellow. Gario is a board member of De Appel, a member of Family Connection and of the pan-African artist collective State of L3.