#10: Don’t be obsessed with numbers.|#14: Can you also remain a toddler institution?|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#19: Have fun at the exhibition.|#44: No name tags at dinner.|#62: Be kind. Full dishwasher: empty it.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#82: Clean and sterile looks professional, but really boring.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#20: Are exhibitions the most suitable form for the art that we present?|#119: Be a space of production.|#29: We make the program for the artist that we exhibit.|#90: The best systems have a failure or ‘a hole’ in them…|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#37: Operate with radical transparency.|#94: No objections? Just do it.|#89: Build-in impurity within the organisation.|#105: Kunsthal Gent is local in scale, but globally connected.|#30: Don’t work with artists who are assholes.|#59: Always protect the floor when painting (or pouring concrete)|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#64: Arrange a distribution of forces.|#6: Demand that visitors are active.|#74: Last one out turns of the lights.|#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|#10: Don’t be obsessed with numbers.|#14: Can you also remain a toddler institution?|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#19: Have fun at the exhibition.|#44: No name tags at dinner.|#62: Be kind. Full dishwasher: empty it.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#82: Clean and sterile looks professional, but really boring.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#20: Are exhibitions the most suitable form for the art that we present?|#119: Be a space of production.|#29: We make the program for the artist that we exhibit.|#90: The best systems have a failure or ‘a hole’ in them…|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#37: Operate with radical transparency.|#94: No objections? Just do it.|#89: Build-in impurity within the organisation.|#105: Kunsthal Gent is local in scale, but globally connected.|#30: Don’t work with artists who are assholes.|#59: Always protect the floor when painting (or pouring concrete)|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#64: Arrange a distribution of forces.|#6: Demand that visitors are active.|#74: Last one out turns of the lights.|#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|
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31.08.2018 00:00

"Starting today, I proclaim that every exhibition we mount is permanent."

Pay what you can

Lezing:
Prem Krishnamurthy, Endless Exhibition, or, K.’s Last Lecture

Every program is a rehearsal for the next program—unless the next program is forever. Revising, revisiting, and reprising a short 2016 talk by Krishnamurthy entitled "Endless Archive", this performance-lecture-manifesto proposes a speculative scenario: What if every art exhibition, from now into the future, were permanent? How would this change the practice of exhibition making today?

Part of his ongoing investigation into reflexive display, installation, and archival methods, these questions suggest expanded opportunities and responsibilities in rethinking exhibition models and institutional formats. By articulating its conceptual framework as a continuous rehearsal, "Endless Exhibition, or, K.’s Last Lecture" simultaneously introduces and initiates Krishnamurthy’s meta-program for the new Kunsthal Gent.

Prem Krishnamurthy is an exhibition maker based in Berlin and New York. He founded and directed the experimental institutions P! in New York and (currently) K, — a yearlong “workshop for exhibition making” in Berlin, established in collaboration with KW Institute for Contemporary Art. Other curatorial projects include exhibitions at Austrian Cultural Forum New York; The Jewish Museum, New York; Para Site, Hong Kong; and Stanley Picker Gallery at Kingston University London. Co-founder of award-winning design studio Project Projects, he is now a partner and director of Wkshps, a multidisciplinary design workshop that seeds and shapes identities for the arts, culture, and beyond. He is a member of the Creative Team for the Carnegie International, 57th Edition, 2018 in Pittsburgh, US and is Artistic Director of the inaugural Fikra Graphic Design Biennial in 2018 in Sharjah (UAE). His interactive, ever-changing monograph/memoir/manifesto, P!DF, was first published in 2017 by O-R-G

1.Still-taken-from-videographic-documentation-of-Endless-Exhibition-Prem-Krishnamurthy