#84: The White Cube is a lie.|#20: Are exhibitions the most suitable form for the art that we present?|#98: The success of it will not lie in the result but in the process.|#51: How do we invite the true unknown?|#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.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#137: Use the publication as programming space|#127: Remain practical: what happens to the work in an endless exhibition?|#29: We make the program for the artist that we exhibit.|#94: No objections? Just do it.|#61: No all male install teams.|#89: Build-in impurity within the organisation.|#37: Operate with radical transparency.|#107: Build a community / scene.|#119: Be a space of production.|#6: Demand that visitors are active.|#21: Live with the exhibition, spend time with it.|#44: No name tags at dinner.|#15: Kunsthal Gent aims to be an extension of public space.|#19: Have fun at the exhibition.|#59: Always protect the floor when painting (or pouring concrete)|#112: Spaces today don’t need to be curated, but occupied.|#10: Don’t be obsessed with numbers.|#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|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#84: The White Cube is a lie.|#20: Are exhibitions the most suitable form for the art that we present?|#98: The success of it will not lie in the result but in the process.|#51: How do we invite the true unknown?|#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.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#137: Use the publication as programming space|#127: Remain practical: what happens to the work in an endless exhibition?|#29: We make the program for the artist that we exhibit.|#94: No objections? Just do it.|#61: No all male install teams.|#89: Build-in impurity within the organisation.|#37: Operate with radical transparency.|#107: Build a community / scene.|#119: Be a space of production.|#6: Demand that visitors are active.|#21: Live with the exhibition, spend time with it.|#44: No name tags at dinner.|#15: Kunsthal Gent aims to be an extension of public space.|#19: Have fun at the exhibition.|#59: Always protect the floor when painting (or pouring concrete)|#112: Spaces today don’t need to be curated, but occupied.|#10: Don’t be obsessed with numbers.|#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|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|
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19.12.2019 17:00

lecture and presentation

Pay what you can

KASK + PILOOT present:
MIA IMANI HARRISON & Filip Van Dingenen

KASK and PILOOT public art platform present:

Lecture & presentation by MIA IMANI HARRISON
in conversation with Filip Van Dingenen

Kunsthal Gent, Thursday December 19, 17.00h
Entrance via back door, Lange Steenstraat

MIA IMANI HARRISON is a Pacific Northwest native interdisciplinary artist and arts writer who currently lives in Berlin. Harrison interrogates the ways that disenfranchised communities can heal individual, communal, and societal trauma by creating works that live in–between the worlds of art and science. This “third–way” mixes unconventional methods (dreams, rituals) and science (ethnography, geography, psychoanalysis) to collectively dream new ways of being. https://www.miaiharrison.com

In the context of the workshop 'TRANS PEDAGOGIES & ART PRACTICES, practicing in trouble and dealing with conflicting curiosities’ at KASK, conducted by Mia Harrison & Filip Van Dingenen/Ecole Mondiale

MIA I HARRISON