#55: Keep basic human needs on the forefront.|#26: More artists, less borders.|#107: Build a community / scene.|#10: Don’t be obsessed with numbers.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#15: Kunsthal Gent aims to be an extension of public space.|#132: Things will always look weird when you’re the first doing it.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#21: Live with the exhibition, spend time with it.|#137: Use the publication as programming space|#59: Always protect the floor when painting (or pouring concrete)|#94: No objections? Just do it.|#74: Last one out turns of the lights.|#36: We support production separately.|#54: What about disabled artists?|#89: Build-in impurity within the organisation.|#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|#56: Take a lunch break.|#99: Evolve according to changing needs.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#91: Embrace doubt.|#53: Immaterial support for artists is important.|#55: Keep basic human needs on the forefront.|#26: More artists, less borders.|#107: Build a community / scene.|#10: Don’t be obsessed with numbers.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#15: Kunsthal Gent aims to be an extension of public space.|#132: Things will always look weird when you’re the first doing it.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#21: Live with the exhibition, spend time with it.|#137: Use the publication as programming space|#59: Always protect the floor when painting (or pouring concrete)|#94: No objections? Just do it.|#74: Last one out turns of the lights.|#36: We support production separately.|#54: What about disabled artists?|#89: Build-in impurity within the organisation.|#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|#56: Take a lunch break.|#99: Evolve according to changing needs.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#91: Embrace doubt.|#53: Immaterial support for artists is important.|
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13.04.2023 20:00

Book launch (Building Fictions)

Pay what you can

Jacob Dwyer: 'Notes On Devils' — Lukas Rehm: '333'

Amsterdam-based publishing house Building Fictions presents two new publications at Kunsthal Gent: 'Notes on Devils' by Jacob Dwyer, and '333' by Lukas Rehm. The evening will start with a live performance as well as a screening.

Jacob Dwyer: Notes on Devils

During the first part of the evening, we will have a live performance of The Devil Museum by Jacob Dwyer for the launch of (Notes on Devils( (Building Fictions, 2023). Duration: 1 hour.


Live performance "The Devil Museum"

In The Devil Museum, we listen to the audio diary of a man tasked with photographing all 3,000 devil statues in a nearby museum. As the project begins to fail and the protagonist spends more time alone in his wooden cabin, the story subtly addresses issues of boredom, masculinity and isolation. They cannot start their project because they have lent their entire working budget to a character named Martin, who constantly promises but does not repay.

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Book launch: Jacob Dwyer - 'Notes on Devils'

Notes on Devils is a transcription of the audio drama The Devil Museum - a script - which the author has reread, rethought and annotated over time. In Notes on Devils, we learn how Martin is a construct, an amalgamation of Jacob's real-life male friends and acquaintances who awkwardly came of age. Through his annotations, Dwyer elaborates on and thinks through these influences to eventually devise new scenes in the play. Scenes in which these real-life relationships and the forms of masculinity at play in them can also be reimagined.


Jacob Dwyer (UK, 1988) is an Amsterdam-based artist who uses moving image, audio and writing. His work often revolves around personal encounters that could equally be seen as fables or heresies. His work has been shown in art spaces and at film festivals including, IFFR (Rotterdam), IDFA (Amsterdam), Good Children (New Orleans), De Appel (Amsterdam) and BFI (London). In 2022, he released The Devil Museum on vinyl by Mana Records.

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Lukas Rehm - '333'

During the second part of the evening we will see a screening: '333' by Lukas Rehm, i.c.w. Tatjana Stürmer and Rudy Guedj, for the launch of 333 (Building Fictions, 2022). Duration: 30'.


Film screening '333'
An audiovisual translation of the contents of 333 will be presented in the Kunsthal Gent's cinema, where the main story of the book is placed in the space of the screen and dialogues with the driving soundtrack created for the occasion by Lybes Dimem (Lukas Rehm).

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Book launch: Lukas Rehm - '333'

Taking its form and structure from that of a graphic novel, 333 interweaves moving images by Lukas Rehm with text fragments from transcriptions, retrospective descriptions or referential sources that inform the artist's process into a narrative of new interdependencies. Exploring themes of affect, barriers, memory, knowledge production or posthuman time scales, this publication transforms still images and quotations into an analogous sequence that reflects the temporal, spatial and sonic dimensions of installative and cinematic experiences.

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Lukas Rehm (DE, 1989) is an artist and musician working in the fields of new media, installation art, documentary, experimental fiction and (music) theater. His work explores the conditions and theatricality of social structures, the impact of new technological artifacts and the role of affect. His work has been presented in institutions such as Kunsthalle Baden-Baden, Stuttgart State Opera, GAMMA Festival St. Petersburg, Doclisboa Lisbon, ZKM or P/////AKT Amsterdam.

Building Fictions (BF) is a publishing project that explores "building" as a methodology, with the intention of highlighting the potential of storytelling within practices at the intersection of art, design, architecture and literature. Not limited by the initial definition of a building as a space, BF is interested in collaboration as a process of assemblage and layering. Published projects are often the result of collaborations from which questions emerge about the established relationship between text and image as autonomous but related languages. While exploring fictional strategies and their potential within artistic production, BF aims to consider where those strategies play in the context of real constructions, can they be concrete or more ephemeral, metaphorical, in order to anchor the effects of fictions within the real world.

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