#68: Once in a while we need to get out of utopia and get something done.|#54: What about disabled artists?|#17: An exhibition is never finished.|#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.|#89: Build-in impurity within the organisation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#64: Arrange a distribution of forces.|#35: The artist fee should be good.|#37: Operate with radical transparency.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#34: We pay artists.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#39: Be the early stepping stone in an artist’s career|#127: Remain practical: what happens to the work in an endless exhibition?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#98: The success of it will not lie in the result but in the process.|#20: Are exhibitions the most suitable form for the art that we present?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#84: The White Cube is a lie.|#6: Demand that visitors are active.|#119: Be a space of production.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#124: Do less, do it better.|#68: Once in a while we need to get out of utopia and get something done.|#54: What about disabled artists?|#17: An exhibition is never finished.|#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.|#89: Build-in impurity within the organisation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#64: Arrange a distribution of forces.|#35: The artist fee should be good.|#37: Operate with radical transparency.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#34: We pay artists.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#39: Be the early stepping stone in an artist’s career|#127: Remain practical: what happens to the work in an endless exhibition?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#98: The success of it will not lie in the result but in the process.|#20: Are exhibitions the most suitable form for the art that we present?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#84: The White Cube is a lie.|#6: Demand that visitors are active.|#119: Be a space of production.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#124: Do less, do it better.|
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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