#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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.|#92: We’re a learning organisation.|#81: Things come alive when there is friction.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#39: Be the early stepping stone in an artist’s career|#6: Demand that visitors are active.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#112: Spaces today don’t need to be curated, but occupied.|#94: No objections? Just do it.|#99: Evolve according to changing needs.|#15: Kunsthal Gent aims to be an extension of public space.|#84: The White Cube is a lie.|#119: Be a space of production.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#54: What about disabled artists?|#64: Arrange a distribution of forces.|#29: We make the program for the artist that we exhibit.|#51: How do we invite the true unknown?|#111: Do it together.|#61: No all male install teams.|#20: Are exhibitions the most suitable form for the art that we present?|#53: Immaterial support for artists is important.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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.|#92: We’re a learning organisation.|#81: Things come alive when there is friction.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#39: Be the early stepping stone in an artist’s career|#6: Demand that visitors are active.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#112: Spaces today don’t need to be curated, but occupied.|#94: No objections? Just do it.|#99: Evolve according to changing needs.|#15: Kunsthal Gent aims to be an extension of public space.|#84: The White Cube is a lie.|#119: Be a space of production.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#54: What about disabled artists?|#64: Arrange a distribution of forces.|#29: We make the program for the artist that we exhibit.|#51: How do we invite the true unknown?|#111: Do it together.|#61: No all male install teams.|#20: Are exhibitions the most suitable form for the art that we present?|#53: Immaterial support for artists is important.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|
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17.11.2021 13:00

Talk

Pay what you can

PRIMARY STRUCTURE PRESENTS:
PRIMARY TALKS - Christoph Fink

PRIMARY TALKS is a lecture series initiated by the architecture masterstudio PRIMARY STRUCTURE.

Within the context of the studio we invite speakers form different disciplines who’s work is relevant within the theme. The focus of the lecture series is on the working method, the way the work comes to being.

This years case study is about the future of the E17 viaduct in Ghent. This giant structure is a relict of the 70’s and severly damaged by heavy traffic. It is currently being restored for the last time. Recently 8 alternative scenario’s have been put forward for debate. Although the infrastructural interventions in the different scenario’s have been calculated, the impact on the city and it’s urban tissue has not to yet been investigated. We will focus on the architectural and ecological potential of each of the scenario’s.

Christoph Fink (°63), Artist and researcher

For many years I have been working on my 'Atlas of Movements'.

Initially this concept arose while archiving the travel material: quick sketches of very dynamic 'still lives' (passages through landscapes) in the form of extremely detailed chronogeographical notes and audiovisual recordings. The processing of these data (a series of indications of time and space) resulted in the creation of experimental forms of presentation: expansive cartographic and aural constructions (drawings, diagrams, tables, soundscapes and instrumental compositions). In other words, possible translations of experiences.

Today, the concept of the "Atlas" is the bearing title of the entire body of work, and in a sense it acts as a platform or observation structure, a foundation for a larger story whose contours are gradually becoming more visible: the placement or positioning of a work of art in the world, the roller coaster of our supposed “modernity. The core idea in this work is to perceive both the world and 'reality' as a poetic or musical structure. It is a search for new forms of contextualization (the binding/connection of things and events) that leads us to question the coherence of the various elements that surround us.

PRIMARY TALKS will host three lectures.

13.00 #1 17/11 Christoph Fink

13.00 #2 24/11 Aline Bouvy

16.00 #3 13/01 Top Office

Wel will end with a public closing event 13/01 with the opening of an exhibition and a debate. Luc Deleu (Top Office), Peter Vandenabbeele (Bouwmeester Gent) will be present. The debate will be moderated by Carl Bourgeois (KU Leuven).

PRIMARY STRUCTURE is an initiative of GAFPA with the support of KU Leuven Faculteit architectuur campus Sint Lucas Gent.

The studio is led by Floris De Bruyn & Olivier Goethals.

www.primarystructure.net


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