#16: Kunsthal Gent will always be a construction site.|#124: Do less, do it better.|#92: We’re a learning organisation.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#112: Spaces today don’t need to be curated, but occupied.|#54: What about disabled artists?|#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|#117: Consider design, organisational structures and architecture as programme.|#29: We make the program for the artist that we exhibit.|#81: Things come alive when there is friction.|#32: Be pan-gender polyphonic.|#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.|#119: Be a space of production.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#94: No objections? Just do it.|#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.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#56: Take a lunch break.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#51: How do we invite the true unknown?|#137: Use the publication as programming space|#74: Last one out turns of the lights.|#6: Demand that visitors are active.|#16: Kunsthal Gent will always be a construction site.|#124: Do less, do it better.|#92: We’re a learning organisation.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#112: Spaces today don’t need to be curated, but occupied.|#54: What about disabled artists?|#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|#117: Consider design, organisational structures and architecture as programme.|#29: We make the program for the artist that we exhibit.|#81: Things come alive when there is friction.|#32: Be pan-gender polyphonic.|#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.|#119: Be a space of production.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#94: No objections? Just do it.|#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.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#56: Take a lunch break.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#51: How do we invite the true unknown?|#137: Use the publication as programming space|#74: Last one out turns of the lights.|#6: Demand that visitors are active.|
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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