#14: Can you also remain a toddler institution?|#111: Do it together.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#2: Bring something new to the city of Ghent.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#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.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#65: No excuses: Thursday morning, team meeting.|#30: Don’t work with artists who are assholes.|#91: Embrace doubt.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#90: The best systems have a failure or ‘a hole’ in them…|#51: How do we invite the true unknown?|#37: Operate with radical transparency.|#32: Be pan-gender polyphonic.|#112: Spaces today don’t need to be curated, but occupied.|#16: Kunsthal Gent will always be a construction site.|#10: Don’t be obsessed with numbers.|#20: Are exhibitions the most suitable form for the art that we present?|#82: Clean and sterile looks professional, but really boring.|#119: Be a space of production.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#14: Can you also remain a toddler institution?|#111: Do it together.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#2: Bring something new to the city of Ghent.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#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.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#65: No excuses: Thursday morning, team meeting.|#30: Don’t work with artists who are assholes.|#91: Embrace doubt.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#90: The best systems have a failure or ‘a hole’ in them…|#51: How do we invite the true unknown?|#37: Operate with radical transparency.|#32: Be pan-gender polyphonic.|#112: Spaces today don’t need to be curated, but occupied.|#16: Kunsthal Gent will always be a construction site.|#10: Don’t be obsessed with numbers.|#20: Are exhibitions the most suitable form for the art that we present?|#82: Clean and sterile looks professional, but really boring.|#119: Be a space of production.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|
This website uses cookies to improve your user experience. More info

07.02.2020 20:00

book launch

Pay what you can

Posture Editions presents:
Nikolaas Demoen — Labyrinth

Posture Editions presents:
Nikolaas Demoen — Labyrinth book launch
07/02/20 — 8pm

Labyrinth takes us on a walk through the spaces constructed within the pages of the book and visualises a world in which the exit can’t be found. With the morphology of the house (windows, doors, steps and curtains) and the theatre (curtains, stage, perspective), a world is evoked in which nothing can serve as a point of reference. The experience is similar to surfing on the internet, scrolling through instagram, unfolding the gallery map of Art Brussels or shopping in a French supermarket.
All images in the book are woodcuts. Christophe Van Gerrewey has written a text that actually creates an imbroglio. The entire book is printed in letterpress.

The launch of Labyrinth coincides with the presentation of 'Papers, Books and Bolero'*, a new film by Nikolaas Demoen.



*The film 'Papers, Books and Bolero' is a dialogue between French philosophers, fictionalized in cardboard, and found images in books and miscellaneous documents; it suggests in fact a possible relation between the different images. The film features on the one hand works belonging to the history of art (Tiepolo, Palladio,...) and on the other hand images from glossy magazines (Purple Fashion, Vogue). Both very different sources are linked through sculptural artefacts made from cardboard and clay.
On the rhythm of Maurice Ravel’s Bolero, one by one the papers and books appear, gradually intoxicating the audience’s senses.

Papers, Books and Bolero, 2020, 16 x 9, 7:02 min.
in collaboration with Christophe Albertijn
Music: Maurice Ravel, Bolero, conducted by Lorin Maazel

Nikolaas Demoen is a visual artist and publisher, based in Ghent, Belgium. In his work he explores the relationship between modern culture and the tradition of beauty in the arts, and how the individual human being is constantly crossing these artificial borders.

NIKOLAAS

IMAGES
Postkaart labyrinth