#32: Be pan-gender polyphonic.|#105: Kunsthal Gent is local in scale, but globally connected.|#40: Follow the artist|#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|#65: No excuses: Thursday morning, team meeting.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#98: The success of it will not lie in the result but in the process.|#4: Pay what you can.|#53: Immaterial support for artists is important.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#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.|#55: Keep basic human needs on the forefront.|#10: Don’t be obsessed with numbers.|#29: We make the program for the artist that we exhibit.|#127: Remain practical: what happens to the work in an endless exhibition?|#44: No name tags at dinner.|#92: We’re a learning organisation.|#64: Arrange a distribution of forces.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#17: An exhibition is never finished.|#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.|#68: Once in a while we need to get out of utopia and get something done.|#94: No objections? Just do it.|#119: Be a space of production.|#32: Be pan-gender polyphonic.|#105: Kunsthal Gent is local in scale, but globally connected.|#40: Follow the artist|#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|#65: No excuses: Thursday morning, team meeting.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#98: The success of it will not lie in the result but in the process.|#4: Pay what you can.|#53: Immaterial support for artists is important.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#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.|#55: Keep basic human needs on the forefront.|#10: Don’t be obsessed with numbers.|#29: We make the program for the artist that we exhibit.|#127: Remain practical: what happens to the work in an endless exhibition?|#44: No name tags at dinner.|#92: We’re a learning organisation.|#64: Arrange a distribution of forces.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#17: An exhibition is never finished.|#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.|#68: Once in a while we need to get out of utopia and get something done.|#94: No objections? Just do it.|#119: Be a space of production.|
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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