#56: Take a lunch break.|#119: Be a space of production.|#39: Be the early stepping stone in an artist’s career|#105: Kunsthal Gent is local in scale, but globally connected.|#65: No excuses: Thursday morning, team meeting.|#51: How do we invite the true unknown?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#91: Embrace doubt.|#68: Once in a while we need to get out of utopia and get something done.|#20: Are exhibitions the most suitable form for the art that we present?|#16: Kunsthal Gent will always be a construction site.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#10: Don’t be obsessed with numbers.|#4: Pay what you can.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#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|#62: Be kind. Full dishwasher: empty it.|#19: Have fun at the exhibition.|#59: Always protect the floor when painting (or pouring concrete)|#124: Do less, do it better.|#29: We make the program for the artist that we exhibit.|#36: We support production separately.|#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.|#56: Take a lunch break.|#119: Be a space of production.|#39: Be the early stepping stone in an artist’s career|#105: Kunsthal Gent is local in scale, but globally connected.|#65: No excuses: Thursday morning, team meeting.|#51: How do we invite the true unknown?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#91: Embrace doubt.|#68: Once in a while we need to get out of utopia and get something done.|#20: Are exhibitions the most suitable form for the art that we present?|#16: Kunsthal Gent will always be a construction site.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#10: Don’t be obsessed with numbers.|#4: Pay what you can.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#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|#62: Be kind. Full dishwasher: empty it.|#19: Have fun at the exhibition.|#59: Always protect the floor when painting (or pouring concrete)|#124: Do less, do it better.|#29: We make the program for the artist that we exhibit.|#36: We support production separately.|#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.|
This website uses cookies to improve your user experience. More info

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