#44: No name tags at dinner.|#19: Have fun at the exhibition.|#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.|#6: Demand that visitors are active.|#54: What about disabled artists?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#16: Kunsthal Gent will always be a construction site.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#28: Make Contracts.|#26: More artists, less borders.|#29: We make the program for the artist that we exhibit.|#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|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#10: Don’t be obsessed with numbers.|#124: Do less, do it better.|#32: Be pan-gender polyphonic.|#91: Embrace doubt.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#62: Be kind. Full dishwasher: empty it.|#40: Follow the artist|#89: Build-in impurity within the organisation.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#36: We support production separately.|#84: The White Cube is a lie.|#44: No name tags at dinner.|#19: Have fun at the exhibition.|#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.|#6: Demand that visitors are active.|#54: What about disabled artists?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#16: Kunsthal Gent will always be a construction site.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#28: Make Contracts.|#26: More artists, less borders.|#29: We make the program for the artist that we exhibit.|#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|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#10: Don’t be obsessed with numbers.|#124: Do less, do it better.|#32: Be pan-gender polyphonic.|#91: Embrace doubt.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#62: Be kind. Full dishwasher: empty it.|#40: Follow the artist|#89: Build-in impurity within the organisation.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#36: We support production separately.|#84: The White Cube is a lie.|
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07—08.05.2022 11:00

Presentation - Studio Permanently Practising

Pay what you can

Elke Van Kerckvoorde:
Redefined Reflections

An investigation into the translation of material aspects in the craft of stained glass into manual printing methods

Elke Van Kerckvoorde (Ghent 1992) studied at Luca School of Arts in Ghent (Master Fine Arts 2014). She started as a painter and immersed herself in various graphic techniques, exploring the boundary between fine art and craft. In 2019/2020 she was a resident in the Development Programme of Kunsthal Gent, aiming to broaden her graphic practice with an investigation into the craft process of stained glass. What atmosphere does a stained glass window evoke, what is typical of this ancient craft? On 7 and 8 May (parallel to the Ghent Art Book Fair 2022) Elke Van Kerckvoorde will share the various steps she discovered to translate the characteristic elements of stained glass into printed matter.

She examined the shapes and transparency of the glass, the lines of the lead, contrasts between light/dark, positive/negative, but also the aspect of time (the changing position of the sun) and its effect on the space of Kunsthal Gent - in collaboration with the design duo PutGootink, among others. She took these elements as a basis for making a manual print and experimented with ways of reinforcing them through different printing processes. With the help of intern Sarah de Laet, various printing techniques (screen printing, risography, lead etching, photograms, digital printing, lasercut, vinyl plots...) were tested to their limits.

Location: Studio Permanently Practising
Development programme Kunsthal Gent

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