#98: The success of it will not lie in the result but in the process.|#117: Consider design, organisational structures and architecture as programme.|#53: Immaterial support for artists is important.|#4: Pay what you can.|#14: Can you also remain a toddler institution?|#81: Things come alive when there is friction.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#65: No excuses: Thursday morning, team meeting.|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#56: Take a lunch break.|#16: Kunsthal Gent will always be a construction site.|#17: An exhibition is never finished.|#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.|#29: We make the program for the artist that we exhibit.|#62: Be kind. Full dishwasher: empty it.|#37: Operate with radical transparency.|#30: Don’t work with artists who are assholes.|#20: Are exhibitions the most suitable form for the art that we present?|#111: Do it together.|#112: Spaces today don’t need to be curated, but occupied.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#40: Follow the artist|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#28: Make Contracts.|#98: The success of it will not lie in the result but in the process.|#117: Consider design, organisational structures and architecture as programme.|#53: Immaterial support for artists is important.|#4: Pay what you can.|#14: Can you also remain a toddler institution?|#81: Things come alive when there is friction.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#65: No excuses: Thursday morning, team meeting.|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#56: Take a lunch break.|#16: Kunsthal Gent will always be a construction site.|#17: An exhibition is never finished.|#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.|#29: We make the program for the artist that we exhibit.|#62: Be kind. Full dishwasher: empty it.|#37: Operate with radical transparency.|#30: Don’t work with artists who are assholes.|#20: Are exhibitions the most suitable form for the art that we present?|#111: Do it together.|#112: Spaces today don’t need to be curated, but occupied.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#40: Follow the artist|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#28: Make Contracts.|
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24.01.2020 20:00

exhibition opening

Pay what you can

JESSE JONES:
SYLLABUS

Opening: JESSE JONES - SYLLABUS
Friday January 24 2020, 20:00

On January 24, Kunsthal Gent opens with a new installation by Irish artist Jesse Jones, entitled Syllabus.

A monumental, 17m high semi-transparent curtain featuring the arm and hand of the feminist scholar Silvia Federici creates a new space in Kunsthal Gent. This space creates room for local (activist) initiatives and for reading a syllabus, in which Silvia Federici and Jesse Jones bring together texts by different authors. The exhibition is a translation of a contract between Kunsthal Gent and the artist about the use of the work and will remain visible as long as the conditions of the contract are respected.

SYLLABUS builds on the earlier work 'NO MORE FUN AND GAMES - Feminist Parasite Institution', realized in the Hugh Lane gallery in Dublin in 2016.

Jesse Jones is a Dublin-based artist and teaches visual arts at the CIT Crawford College of Art & Design in Cork. Her practice crosses the media of film, performance and installation. She often works in collaborative structures and investigates how historical examples of shared culture can play a role in our current social and political experiences. Recent exhibitions and projects include the important new work In the Shadow of the State, commissioned by Artangel (UK) and Create with financial support from Ireland 2016, and created in collaboration with artist Sarah Browne. Jesse Jones represented Ireland at the Venice Biennale in 2017. Until March 2020 the Guggenheim in Bilboa (ES) presents her solo show 'Temblad Temblad'.

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