#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#62: Be kind. Full dishwasher: empty it.|#112: Spaces today don’t need to be curated, but occupied.|#39: Be the early stepping stone in an artist’s career|#81: Things come alive when there is friction.|#19: Have fun at the exhibition.|#32: Be pan-gender polyphonic.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#29: We make the program for the artist that we exhibit.|#107: Build a community / scene.|#74: Last one out turns of the lights.|#117: Consider design, organisational structures and architecture as programme.|#137: Use the publication as programming space|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#16: Kunsthal Gent will always be a construction site.|#21: Live with the exhibition, spend time with it.|#119: Be a space of production.|#15: Kunsthal Gent aims to be an extension of public space.|#56: Take a lunch break.|#65: No excuses: Thursday morning, team meeting.|#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|#28: Make Contracts.|#89: Build-in impurity within the organisation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#62: Be kind. Full dishwasher: empty it.|#112: Spaces today don’t need to be curated, but occupied.|#39: Be the early stepping stone in an artist’s career|#81: Things come alive when there is friction.|#19: Have fun at the exhibition.|#32: Be pan-gender polyphonic.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#29: We make the program for the artist that we exhibit.|#107: Build a community / scene.|#74: Last one out turns of the lights.|#117: Consider design, organisational structures and architecture as programme.|#137: Use the publication as programming space|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#16: Kunsthal Gent will always be a construction site.|#21: Live with the exhibition, spend time with it.|#119: Be a space of production.|#15: Kunsthal Gent aims to be an extension of public space.|#56: Take a lunch break.|#65: No excuses: Thursday morning, team meeting.|#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|#28: Make Contracts.|#89: Build-in impurity within the organisation.|
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13.12.2019 20:00

THE THIRD LANDSCAPE - performances and film screening

Pay what you can

Croxhapox presents:
Esther Schelfhout, Marcin Dudek, Saddie Choua

Croxhapox THE THIRD LANDSCAPE
invites Esther Schelfhout, Marcin Dudek and Saddie Choua:


Ester Schelfout: Brides in white satin
- Performance
Placed on the retelling of women's stories from (art) history, Schelfhout will work with the architectural elements of Kunsthal and continue to build on the story of the Caryatids, among others in Erechtheion, Akropolis: 6 young, handsome and fertile women, as slave girl could be bought. A weight that is literally and figuratively, a tough last.

Marcin Dudek: The Crowd Man
- Performance
Dudek touches questions about control in society, the hierarchy of power and mechanisms of violence and aggression, from sociological, historical and psychological points of view.
In his performances and performances, Dudek returns to the time when he was actively involved as a football fan / hooligan of football club Cracovia Kraków. In the late 1990s and early 2000s, the socio-political transformation in Poland was still underway with great "lawlessness." Conflicts between football hooligans were undoubtedly linked to the toe appropriation of public space by these groups.

Saddie Choua: THE CHOUAS # EPISODE 5 Am I the only one like me? - Film screening
Saddie Choua shows # 5 of her philosophical soap The Chouas, a representation of how the position of the immigrant artist and the image of immigrant artists (also within the art world) is sharpened. What is the place of the other in the hierarchy of power? Saddie Choua breaks through discriminatory practices in our society and awakens the viewer's critical mind by confronting him with his own stereotypes and questioning his attachment to domination systems.

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croxhapox in Kunsthal Gent
As the first resident at Kunsthal Gent, the new artistic team of croxhapox examined the parameters for its future operation. During the Opening of Kunsthal, croxhapox presented 'schuivende grond - ruimtes van tonen': proposals and representations of how croxhapox, as a nomadic artists' initiative, wants to explore new spaces and new ways of showing in the future, in particular the creation of spaces of showing that arise through encounters and confrontations with both social and physical worlds that are also located outside of the usual art places.

The Third Landscape (Aug-Dec 2019), constructed as a forum for the exchange of art practices, to which the margin, the unused and / or unusable landscape is a metaphor for the current art landscape. Within this framework, we investigate situational and contextual activism: a project on radicalism within art practices.


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| image | The Crowd Man 2019 - Marcin Dudek - Performance at Muzeum Współczesne Wrocław, Poland. Photograph by Małgorzata Kujda. Courtesy Harlan Levey Projects and the Artist.

Marcin dudek