#35: The artist fee should be good.|#26: More artists, less borders.|#65: No excuses: Thursday morning, team meeting.|#91: Embrace doubt.|#21: Live with the exhibition, spend time with it.|#34: We pay artists.|#82: Clean and sterile looks professional, but really boring.|#54: What about disabled artists?|#98: The success of it will not lie in the result but in the process.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#28: Make Contracts.|#117: Consider design, organisational structures and architecture as programme.|#19: Have fun at the exhibition.|#59: Always protect the floor when painting (or pouring concrete)|#74: Last one out turns of the lights.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#94: No objections? Just do it.|#81: Things come alive when there is friction.|#40: Follow the artist|#14: Can you also remain a toddler institution?|#137: Use the publication as programming space|#90: The best systems have a failure or ‘a hole’ in them…|#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.|#56: Take a lunch break.|#35: The artist fee should be good.|#26: More artists, less borders.|#65: No excuses: Thursday morning, team meeting.|#91: Embrace doubt.|#21: Live with the exhibition, spend time with it.|#34: We pay artists.|#82: Clean and sterile looks professional, but really boring.|#54: What about disabled artists?|#98: The success of it will not lie in the result but in the process.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#28: Make Contracts.|#117: Consider design, organisational structures and architecture as programme.|#19: Have fun at the exhibition.|#59: Always protect the floor when painting (or pouring concrete)|#74: Last one out turns of the lights.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#94: No objections? Just do it.|#81: Things come alive when there is friction.|#40: Follow the artist|#14: Can you also remain a toddler institution?|#137: Use the publication as programming space|#90: The best systems have a failure or ‘a hole’ in them…|#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.|#56: Take a lunch break.|
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12.10.2018 00:00

"Working with artists instead of objects"

Pay what you can

Lezing:
Marina Coelho, Kunsthalle São Paulo

Founded in September 2012 by Marina Coelho, KUNSTHALLE São Paulo is an institution dedicated to contemporary art. Setting up projects and exhibitions of (inter)national artists, the institution is characterized by experimentation, and the creation of discussions around current social and contemporary art issues. Artists are invited to develop site-specific projects, and most often in response to the local context.

In 2017 KUNSTHALLE São Paulo ended its activities in Sao Paulo to begin a series of international projects. In Kunsthal Gent, initiator Marina Coelho will talk about KUNSTHALLE São Paulo and her future activities in Belgium.

Background of KUNSTHALLE São Paulo

In its first headquarters, in Pinheiros, KUNSTHALLE São Paulo developed also the project Vitrine, in which several artists had been invited to dialogue directly with the public space. Learning from this positive and democratic experience, KUNSTHALLE São Paulo turned its second exhibition space, in Sumaré, into a big vitrine, in which exhibitions could be seen both from outside and inside.

Its second headquarters provided also the creation of the KSP Residencies program, designed for international artists to develop new researches in São Paulo. For a better understanding of their surveys, KUNSTHALLE São Paulo offered a digital publication containing images and interviews with the residents.

To carry out its activities, KUNSTHALLE São Paulo was supported by foreign governments and the FRIENDS of KUNSTHALLE, who had a series of benefits, such as discounts and preference on the acquisition of the limited editions, produced by invited artists.

Born in 1978, in São Paulo, Marina Coelho holds a Master in Curating Contemporary Art from the Zürich University of the Arts (ZHdK). In 2012, she founded KUNSTHALLE São Paulo, a contemporary art institution, where she developed projects with several international artists for the period of four years. She was awarded a scholarship by the Independent Curators International (ICI) to take part in a Curatorial Intensive course, held at the Mori Museum in Tokyo (2013), and has been visiting lecturer at HISK, in Ghent, and at the ZHdK, in Zurich. In earlier years, Marina Coelho took part in a museology internship at the Peggy Guggenheim Collection, in Venice, and worked as exhibition producer at Galeria Leme, in São Paulo. Since February 2017, Marina Coelho is based in Ghent, Belgium, where she is developing a new theoretical research and other international curatorial projects.

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