#107: Build a community / scene.|#53: Immaterial support for artists is important.|#112: Spaces today don’t need to be curated, but occupied.|#99: Evolve according to changing needs.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#28: Make Contracts.|#137: Use the publication as programming space|#127: Remain practical: what happens to the work in an endless exhibition?|#19: Have fun at the exhibition.|#62: Don’t be a dick. Full dishwasher: empty it.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#30: Don’t work with artists who are assholes.|#119: Be a space of production.|#92: We’re a learning organisation.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#98: The success of it will not lie in the result but in the process.|#82: Clean and sterile looks professional, but really boring.|#44: No name tags at dinner.|#39: Be the early stepping stone in an artist’s career|#111: Do it together.|#21: Live with the exhibition, spend time with it.|#68: Once in a while we need to get out of utopia and get something done.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#51: How do we invite the true unknown?|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#15: Kunsthal Gent aims to be an extension of public space.|#20: Are exhibitions the most suitable form for the art that we present?|#91: Embrace doubt.|#54: What about disabled artists?|#56: Take a lunch break.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#40: Follow the artist|#84: The White Cube is a lie.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#74: Last one out turns of the lights.|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#59: Always protect the floor when painting (or pouring concrete)|#90: The best systems have a failure or ‘a hole’ in them…|#64: Arrange a distribution of forces.|#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.|#132: Things will always look weird when you’re the first doing it.|#117: Consider design, organisational structures and architecture as programme.|#55: Keep basic human needs on the forefront.|#14: Can you also remain a toddler institution?|#81: Things come alive when there is friction.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#26: More artists, less borders.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#36: We support production separately.|#37: Operate with radical transparency.|#89: Build-in impurity within the organisation.|#105: Kunsthal Gent is local in scale, but globally connected.|#34: We pay artists.|#61: No all male install teams.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#29: We make the program for the artist that we exhibit.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#124: Do less, do it better.|#4: Pay what you can.|#10: Don’t be obsessed with numbers.|#35: The artist fee should be good.|#32: Be pan-gender polyphonic.|#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|#2: Bring something new to the city of Ghent.|#65: No excuses: Thursday morning, team meeting.|#94: No objections? Just do it.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#16: Kunsthal Gent will always be a construction site.|#6: Demand that visitors are active.|#17: An exhibition is never finished.|#107: Build a community / scene.|#53: Immaterial support for artists is important.|#112: Spaces today don’t need to be curated, but occupied.|#99: Evolve according to changing needs.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#28: Make Contracts.|#137: Use the publication as programming space|#127: Remain practical: what happens to the work in an endless exhibition?|#19: Have fun at the exhibition.|#62: Don’t be a dick. Full dishwasher: empty it.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#30: Don’t work with artists who are assholes.|#119: Be a space of production.|#92: We’re a learning organisation.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#98: The success of it will not lie in the result but in the process.|#82: Clean and sterile looks professional, but really boring.|#44: No name tags at dinner.|#39: Be the early stepping stone in an artist’s career|#111: Do it together.|#21: Live with the exhibition, spend time with it.|#68: Once in a while we need to get out of utopia and get something done.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#51: How do we invite the true unknown?|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#15: Kunsthal Gent aims to be an extension of public space.|#20: Are exhibitions the most suitable form for the art that we present?|#91: Embrace doubt.|#54: What about disabled artists?|#56: Take a lunch break.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#40: Follow the artist|#84: The White Cube is a lie.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#74: Last one out turns of the lights.|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#59: Always protect the floor when painting (or pouring concrete)|#90: The best systems have a failure or ‘a hole’ in them…|#64: Arrange a distribution of forces.|#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.|#132: Things will always look weird when you’re the first doing it.|#117: Consider design, organisational structures and architecture as programme.|#55: Keep basic human needs on the forefront.|#14: Can you also remain a toddler institution?|#81: Things come alive when there is friction.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#26: More artists, less borders.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#36: We support production separately.|#37: Operate with radical transparency.|#89: Build-in impurity within the organisation.|#105: Kunsthal Gent is local in scale, but globally connected.|#34: We pay artists.|#61: No all male install teams.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#29: We make the program for the artist that we exhibit.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#124: Do less, do it better.|#4: Pay what you can.|#10: Don’t be obsessed with numbers.|#35: The artist fee should be good.|#32: Be pan-gender polyphonic.|#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|#2: Bring something new to the city of Ghent.|#65: No excuses: Thursday morning, team meeting.|#94: No objections? Just do it.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#16: Kunsthal Gent will always be a construction site.|#6: Demand that visitors are active.|#17: An exhibition is never finished.|
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02.04.2021 20:00

lecture-performances

Pay what you can

Ja ja ja Nee Nee Nee:
Radio as curating

Ja Ja Ja Nee Nee Nee: Radio as curating

(in English)

20:00
This evening, Arif Kornweitz and Radna Rumping will talk about the radio and podcast platform Ja Ja Ja Nee Nee Nee, how the medium of radio can serve as a space for contemporary art and as a platform for curating and for research. They will include some fragments from the archive of Ja Ja Nee Nee (https://jajajaneeneenee.com/). With two short lecture-performances, Arif and Radna will give an insight into their individual practice - in which research, text and audiovisual media come together.
Ja Ja Ja Nee Nee Nee (which, next to Radna and Arif, also includes editors Femke Dekker and Reinier Klok) started in February with their Development Fellowship at Kunsthal Gent. The work period is a moment for them to research their own voice.

20:30
I would drape it (Cut Version)
lecture performance Radna Rumping

I would drape it is a text that Radna Rumping originally read at the Critical Styling symposium in Plato, Ostrava (2019). In this text she examines how to show up somewhere, how to carry phrase, the role of style and a hyper-conscious self-presentation versus improvisation. But perhaps this was not completely what she wanted to say, and that is why there is now the (Cut Version) in which she tries to make a cut, as a sharp diagonal line, during her stay in Kunsthal Ghent, Ghent (2020)

21:00
Speaker, Broker, Stringer
lecture performance Arif Kornweitz

With the re-emergence of fascist politics, the concept of Werktreue has returned to the stage: performance true to an original text. Proudly wearing the hollow mask of representationalism, Werktreue needs to be defaced. Rather than engaging in violent representation of an original, Arif Kornweitz proposes to look to bias as a disposition enabling unintended consequences. Cutting diagonally into a material, how will the fabric float?

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Ja Ja Ja Nee Nee Nee is an online radio collective and podcast from Amsterdam. The collective makes live radio with artists, on their own initiative and through cultural institutions. Ja Ja Ja Nee Nee Nee is also an online space for sound art and sonic material arising from artistic research, installations and performances. The broadcasts offer an intimate space for reflections on artistic practices and communities. Ja Ja Ja Nee Nee Nee was founded in 2015 by Orpheu de Jong, Arif Kornweitz and Radna Rumping, and consists of a team of editors including Femke Dekker, Reinier Klok, Arif Kornweitz and Radna Rumping, with Monty Mouw as regular producer. More than 130 broadcasts can be listened to in the archive at www.jajajaneeneenee.com. Since 2018 there is also a podcast, hosted by Arif and Radna, with highlights from the archive and new sound contributions by artists in the form of 'voice messages'.

Jajajaneeneenee2