#99: Evolve according to changing needs.|#132: Things will always look weird when you’re the first doing it.|#82: Clean and sterile looks professional, but really boring.|#92: We’re a learning organisation.|#94: No objections? Just do it.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#89: Build-in impurity within the organisation.|#59: Always protect the floor when painting (or pouring concrete)|#64: Arrange a distribution of forces.|#105: Kunsthal Gent is local in scale, but globally connected.|#19: Have fun at the exhibition.|#111: Do it together.|#98: The success of it will not lie in the result but in the process.|#53: Immaterial support for artists is important.|#10: Don’t be obsessed with numbers.|#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.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#21: Live with the exhibition, spend time with it.|#34: We pay artists.|#40: Follow the artist|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#14: Can you also remain a toddler institution?|#99: Evolve according to changing needs.|#132: Things will always look weird when you’re the first doing it.|#82: Clean and sterile looks professional, but really boring.|#92: We’re a learning organisation.|#94: No objections? Just do it.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#89: Build-in impurity within the organisation.|#59: Always protect the floor when painting (or pouring concrete)|#64: Arrange a distribution of forces.|#105: Kunsthal Gent is local in scale, but globally connected.|#19: Have fun at the exhibition.|#111: Do it together.|#98: The success of it will not lie in the result but in the process.|#53: Immaterial support for artists is important.|#10: Don’t be obsessed with numbers.|#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.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#21: Live with the exhibition, spend time with it.|#34: We pay artists.|#40: Follow the artist|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#14: Can you also remain a toddler institution?|
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18.11.2022 20:00

Book launch

Pay what you can

LUCA presents: Notes on Bimbos and Bodybuilders

Welcome at the Book launch on the occasion of the publication of Stan Van Rompaey’s treatise Notes on Bimbos and Bodybuilders, which was awarded the Dirk Lauwaert Prize in 2021.

Friday November 18th: 20:00

- Isolde Vanhee: Introduction “Notes on Camp Cinema”
- Stan Van Rompaey in conversation with Saskia Smith

“A new canonical text in respect of the eternal virgins, endorsed by the event of the year, coming at you from sophisticated mischief. Look camp right in the eye, twist the 8-count of academic killjoy, and weight the world’s burdens to bulge those biceps.”

Inspired by Susan Sontag’s Notes on “Camp”, Stan Van Rompaey attempts to penetrate the very essence of all things “camp”, the manifestations of camp past and present, and the critical appeal she reads in them. The climax of her research is the Post-Sontagian “Camp” Manifesto. The calls in the manifesto are as sincere as they are contrived, as personal as they are political, soaked in the so-called post-irony that the artist embraces as an inevitable condition of her generation. In her manifesto, she calls for a revolutionising of everyday life, the overturning of conventional categories and language systems associated with heteronormativity, the celebration of excess, the elimination of shame and guilt, for a rebellious hyper-awareness too, prompted by the realisation that no form of aesthetics is innocent, nor is its critique.

On November 18th we LUCA School of Arts will host an evening dedicated to an audience that celebrates and bespeaks reality with excess and hyperboles. This event will be nothing short of spectacle, albeit with offence and disgrace lurking around the corner! After all, as Graham Harman pointed out: “If we identify this event with ‘aesthetics’ in the broadest sense of the term, it becomes clear why first philosophy is aesthetics, not ethics.”

Stan Van Rompaey: 'Notes on Bimbos and Bodybuilders'
  • 352 p., 148 x 210 mm
  • Dirk Lauwaert Prize 2021 (Thesis prize LUCA School of Arts)
  • Author: Stan Van Rompaey
  • Editor: Isolde Vanhee
  • ISBN 9789492574237
  • €25 pre-order via this link

Published by Grafische Cel
Funded by LUCA School of Arts

Stan Van Rompaey