#81: Things come alive when there is friction.|#54: What about disabled artists?|#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|#61: No all male install teams.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#20: Are exhibitions the most suitable form for the art that we present?|#119: Be a space of production.|#34: We pay artists.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#36: We support production separately.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#26: More artists, less borders.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#28: Make Contracts.|#91: Embrace doubt.|#84: The White Cube is a lie.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#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.|#59: Always protect the floor when painting (or pouring concrete)|#6: Demand that visitors are active.|#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.|#94: No objections? Just do it.|#35: The artist fee should be good.|#4: Pay what you can.|#137: Use the publication as programming space|#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?|#89: Build-in impurity within the organisation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#99: Evolve according to changing needs.|#56: Take a lunch break.|#29: We make the program for the artist that we exhibit.|#53: Immaterial support for artists is important.|#98: The success of it will not lie in the result but in the process.|#117: Consider design, organisational structures and architecture as programme.|#2: Bring something new to the city of Ghent.|#10: Don’t be obsessed with numbers.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#44: No name tags at dinner.|#64: Arrange a distribution of forces.|#132: Things will always look weird when you’re the first doing it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#19: Have fun at the exhibition.|#17: An exhibition is never finished.|#107: Build a community / scene.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#30: Don’t work with artists who are assholes.|#14: Can you also remain a toddler institution?|#90: The best systems have a failure or ‘a hole’ in them…|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#65: No excuses: Thursday morning, team meeting.|#111: Do it together.|#112: Spaces today don’t need to be curated, but occupied.|#51: How do we invite the true unknown?|#15: Kunsthal Gent aims to be an extension of public space.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#16: Kunsthal Gent will always be a construction site.|#74: Last one out turns of the lights.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#32: Be pan-gender polyphonic.|#124: Do less, do it better.|#40: Follow the artist|#21: Live with the exhibition, spend time with it.|#82: Clean and sterile looks professional, but really boring.|#37: Operate with radical transparency.|#39: Be the early stepping stone in an artist’s career|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#55: Keep basic human needs on the forefront.|#62: Don’t be a dick. Full dishwasher: empty it.|#68: Once in a while we need to get out of utopia and get something done.|#92: We’re a learning 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 /…|#81: Things come alive when there is friction.|#54: What about disabled artists?|#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|#61: No all male install teams.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#20: Are exhibitions the most suitable form for the art that we present?|#119: Be a space of production.|#34: We pay artists.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#36: We support production separately.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#26: More artists, less borders.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#28: Make Contracts.|#91: Embrace doubt.|#84: The White Cube is a lie.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#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.|#59: Always protect the floor when painting (or pouring concrete)|#6: Demand that visitors are active.|#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.|#94: No objections? Just do it.|#35: The artist fee should be good.|#4: Pay what you can.|#137: Use the publication as programming space|#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?|#89: Build-in impurity within the organisation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#99: Evolve according to changing needs.|#56: Take a lunch break.|#29: We make the program for the artist that we exhibit.|#53: Immaterial support for artists is important.|#98: The success of it will not lie in the result but in the process.|#117: Consider design, organisational structures and architecture as programme.|#2: Bring something new to the city of Ghent.|#10: Don’t be obsessed with numbers.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#44: No name tags at dinner.|#64: Arrange a distribution of forces.|#132: Things will always look weird when you’re the first doing it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#19: Have fun at the exhibition.|#17: An exhibition is never finished.|#107: Build a community / scene.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#30: Don’t work with artists who are assholes.|#14: Can you also remain a toddler institution?|#90: The best systems have a failure or ‘a hole’ in them…|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#65: No excuses: Thursday morning, team meeting.|#111: Do it together.|#112: Spaces today don’t need to be curated, but occupied.|#51: How do we invite the true unknown?|#15: Kunsthal Gent aims to be an extension of public space.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#16: Kunsthal Gent will always be a construction site.|#74: Last one out turns of the lights.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#32: Be pan-gender polyphonic.|#124: Do less, do it better.|#40: Follow the artist|#21: Live with the exhibition, spend time with it.|#82: Clean and sterile looks professional, but really boring.|#37: Operate with radical transparency.|#39: Be the early stepping stone in an artist’s career|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#55: Keep basic human needs on the forefront.|#62: Don’t be a dick. Full dishwasher: empty it.|#68: Once in a while we need to get out of utopia and get something done.|#92: We’re a learning 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 /…|
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23.04.2021 20:00

documentary + talk

Pay what you can

Topo Copy presents:
Knust, de pioniers van de risodruk + Kleurbekennen

Topo Copy presents: Knust, the pioneers of Riso Print [docu] + Kleurbekennen [talk]

Stimulated by the documentary Knust - the pioneers of Riso print - which tells the story of the Nijmegen artists' initiative Knust, that originated within the squatters' movement in the 1980s, the Ghent print collective Topo Copy decided to organise a screening in Ghent. Topo Copy takes the opportunity to reflect on a number of topics in an open discussion with other local print studios and the audience, starting from questions that arise within their own collective/studio.

A table with a selection of publications and other print-related projects that are thematically linked to the programme will provide the ideal food for thought and discussion.

Friday 23 April 2021
19:30 doors + selection of publications
20:00 DOCU: Knust - the pioneers of Riso print, 30'
20:30 TALK: kleurbekennen (3 topics)

DOCU - Knust - the pioneers of Riso print, 30'

The documentary, directed by Ivana Smudja, tells the story of Nijmegen's artists' initiative Knust Press, the quirky printing workshop and publishing house that arose in the 1980s during the turbulent times of the squatters' movement. In the film we follow artist Charlotte Ager during her residency at Knust Press in the EXTRAPOOL building in the centre of Nijmegen. Interviews with former members of the artists' collective show the development of KNUST from the 1980s until now. Visual artist Gijs Frieling talks about how he made his international breakthrough with his book made at KNUST. Art collector Hans Kaaijk talks enthusiastically about the importance of the special KNUST publications.
Directed by Ivana Smudja / produced by Ellen Kocken, DZIGA

TALK - KLEURBEKENNEN

Topics:

1 - Printers of the Resistance in the year 2020
Are we as print studios aware of the power of print? Do we find it necessary to be actively socially engaged or is it ok just to make 'beautiful' things? Do you sometimes raise your own voice and/or whose voice do you strengthen? Are you consciously dealing with preconceived values and norms? Do you take a stance on certain topics such as sustainability/ecology - diversity - human rights - religion - ideology - politics... and how do you activate that? DO YOU TAKE A STANCE?

2 - How to act as an artistic collective in a money driven society?
Are you non-profit as an artistic collective and is a creative agency for-profit? Where do you draw the line and (how often) do you cross it? When do you, when not? Do you set standards or do you work intuitively? How do you keep an organisation (often with few resources) sustainable and do you ensure a fair remuneration internally? How humane do you approach the organisation? How good are we at ensuring fair pay for artists involved (fair practice)? Do you set the same prices for everyone or do you work in a differentiated way, ... are you sometimes playing Robin Hood?

3 - Investing in a nearby network, ... better a good neighbour than a distant friend
How do we make Ghent an interesting playing field in which print studios know and strengthen each other?

An initiative of Topo Copy in collaboration with Kunsthal Gent - with thanks to the City of Ghent Stad Gent

Topo Copy is an 'open lab research centre' around print, (fan-)zines, paper, copy, ink and art. They have their own publishing label and a zine library. Furthermore, they organize activities such as workshops, lectures, interventions and exhibitions and run an open studio with machinery to promote creation with ink and paper. Topo Copy print Riso. - www.topocopy.org

KLEURBEKENNENFINAL