#81: Things come alive when there is friction.|#16: Kunsthal Gent will always be a construction site.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#54: What about disabled artists?|#98: The success of it will not lie in the result but in the process.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#92: We’re a learning organisation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#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.|#61: No all male install teams.|#105: Kunsthal Gent is local in scale, but globally connected.|#94: No objections? Just do it.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#127: Remain practical: what happens to the work in an endless exhibition?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#82: Clean and sterile looks professional, but really boring.|#99: Evolve according to changing needs.|#34: We pay artists.|#15: Kunsthal Gent aims to be an extension of public space.|#132: Things will always look weird when you’re the first doing it.|#39: Be the early stepping stone in an artist’s career|#32: Be pan-gender polyphonic.|#35: The artist fee should be good.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#40: Follow the artist|#81: Things come alive when there is friction.|#16: Kunsthal Gent will always be a construction site.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#54: What about disabled artists?|#98: The success of it will not lie in the result but in the process.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#92: We’re a learning organisation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#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.|#61: No all male install teams.|#105: Kunsthal Gent is local in scale, but globally connected.|#94: No objections? Just do it.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#127: Remain practical: what happens to the work in an endless exhibition?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#82: Clean and sterile looks professional, but really boring.|#99: Evolve according to changing needs.|#34: We pay artists.|#15: Kunsthal Gent aims to be an extension of public space.|#132: Things will always look weird when you’re the first doing it.|#39: Be the early stepping stone in an artist’s career|#32: Be pan-gender polyphonic.|#35: The artist fee should be good.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#40: Follow the artist|
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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