#40: Follow the artist|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#62: Be kind. Full dishwasher: empty it.|#4: Pay what you can.|#137: Use the publication as programming space|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#16: Kunsthal Gent will always be a construction site.|#107: Build a community / scene.|#105: Kunsthal Gent is local in scale, but globally connected.|#74: Last one out turns of the lights.|#35: The artist fee should be good.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#99: Evolve according to changing needs.|#89: Build-in impurity within the organisation.|#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.|#37: Operate with radical transparency.|#15: Kunsthal Gent aims to be an extension of public space.|#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|#14: Can you also remain a toddler institution?|#2: Bring something new to the city of Ghent.|#53: Immaterial support for artists is important.|#81: Things come alive when there is friction.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#98: The success of it will not lie in the result but in the process.|#40: Follow the artist|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#62: Be kind. Full dishwasher: empty it.|#4: Pay what you can.|#137: Use the publication as programming space|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#16: Kunsthal Gent will always be a construction site.|#107: Build a community / scene.|#105: Kunsthal Gent is local in scale, but globally connected.|#74: Last one out turns of the lights.|#35: The artist fee should be good.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#99: Evolve according to changing needs.|#89: Build-in impurity within the organisation.|#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.|#37: Operate with radical transparency.|#15: Kunsthal Gent aims to be an extension of public space.|#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|#14: Can you also remain a toddler institution?|#2: Bring something new to the city of Ghent.|#53: Immaterial support for artists is important.|#81: Things come alive when there is friction.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#98: The success of it will not lie in the result but in the process.|
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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