#132: Things will always look weird when you’re the first doing it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#55: Keep basic human needs on the forefront.|#107: Build a community / scene.|#10: Don’t be obsessed with numbers.|#54: What about disabled artists?|#26: More artists, less borders.|#91: Embrace doubt.|#92: We’re a learning organisation.|#64: Arrange a distribution of forces.|#17: An exhibition is never finished.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#111: Do it together.|#56: Take a lunch break.|#39: Be the early stepping stone in an artist’s career|#98: The success of it will not lie in the result but in the process.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#51: How do we invite the true unknown?|#29: We make the program for the artist that we exhibit.|#61: No all male install teams.|#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.|#112: Spaces today don’t need to be curated, but occupied.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#14: Can you also remain a toddler institution?|#132: Things will always look weird when you’re the first doing it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#55: Keep basic human needs on the forefront.|#107: Build a community / scene.|#10: Don’t be obsessed with numbers.|#54: What about disabled artists?|#26: More artists, less borders.|#91: Embrace doubt.|#92: We’re a learning organisation.|#64: Arrange a distribution of forces.|#17: An exhibition is never finished.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#111: Do it together.|#56: Take a lunch break.|#39: Be the early stepping stone in an artist’s career|#98: The success of it will not lie in the result but in the process.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#51: How do we invite the true unknown?|#29: We make the program for the artist that we exhibit.|#61: No all male install teams.|#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.|#112: Spaces today don’t need to be curated, but occupied.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#14: Can you also remain a toddler institution?|
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22.07.2022 18:00

Jesse Jones + Fiona Hallinan

Pay what you can

SYLLABUS SUMMER SCHOOL RETREAT DAY 2:
Syllabus Dinner - Hildegard's Shimmering

Friday 22 July, 18.00 - 22.00
by Jesse Jones and Fiona Hallinan

Fiona Hallinan is an artist and researcher based between Belgium and Ireland. She is interested in themes of hospitality, traces, thresholds, care and critical pedagogy and often works with food as part of her practice, cooking and organising meals. Through a doctoral project and artistic practice, she explores the coming-into-being of Ultimology, the study of that which is dead or dying (death here encompassing both the end of life and the passing into irrelevance, redundancy or extinction of material and immaterial entities), as a tool for transformative discourse.

Together with Jesse, Sara and participants of the Syllabus programme, Fiona will guide preparation of a meal of plants, leaves and herbs that requires participation, sharing and assembly. While preparing this meal together she will share some of her recent research on endings, looking at how rituals of mourning and grief might inform ways we negotiate what anthropologist Deborah Bird Rose describes as the 'double deaths' wrought by environmental destruction. Jesse will share some of her recent research influenced by Hildgard of Bingen - Mystic, composer, writer and Abbess - in the form of a prepared libation to accompany the meal.

This event is part of the Syllabus Summer School Retreat

Register with an email to danielle@kunsthal.gent