#111: Do it together.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#105: Kunsthal Gent is local in scale, but globally connected.|#117: Consider design, organisational structures and architecture as programme.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#132: Things will always look weird when you’re the first doing it.|#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.|#29: We make the program for the artist that we exhibit.|#94: No objections? Just do it.|#17: An exhibition is never finished.|#32: Be pan-gender polyphonic.|#16: Kunsthal Gent will always be a construction site.|#91: Embrace doubt.|#98: The success of it will not lie in the result but in the process.|#127: Remain practical: what happens to the work in an endless exhibition?|#137: Use the publication as programming space|#30: Don’t work with artists who are assholes.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#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.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#14: Can you also remain a toddler institution?|#64: Arrange a distribution of forces.|#34: We pay artists.|#26: More artists, less borders.|#111: Do it together.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#105: Kunsthal Gent is local in scale, but globally connected.|#117: Consider design, organisational structures and architecture as programme.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#132: Things will always look weird when you’re the first doing it.|#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.|#29: We make the program for the artist that we exhibit.|#94: No objections? Just do it.|#17: An exhibition is never finished.|#32: Be pan-gender polyphonic.|#16: Kunsthal Gent will always be a construction site.|#91: Embrace doubt.|#98: The success of it will not lie in the result but in the process.|#127: Remain practical: what happens to the work in an endless exhibition?|#137: Use the publication as programming space|#30: Don’t work with artists who are assholes.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#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.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#14: Can you also remain a toddler institution?|#64: Arrange a distribution of forces.|#34: We pay artists.|#26: More artists, less borders.|
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19.05.2022 19:00

Online, met Jesse Jones & Barbara Mahlknecht

Pay what you can

Syllabus Reading Group #10: from crisis to commons

Syllabus Reading Group #10: from crisis to commons
Thursday 19 May 19.00 - 20.30 Brussels time

In English, online
We will send you a pdf of the text after
registration

With hosts Barbara Mahlknecht, Sara O' Rourke and Jesse Jones we read a chapter from Silvia Federici's 2019 book Re-Enchanting the World: "From Crisis to Commons: Reproductive Work, Affective Labor and Technology, and the Transformation of Everyday Life" (pp. 188-196).

The chapter explores examples of applying the principle of the commons to the organisation of social reproduction. After reading the text we will explore together whether there are areas in our lives where a collective organisation of social reproduction either happens or where there is the potential to organise collectively - be it at home, at work, with children, the eldery, working in the arts.

Syllabus Reading Group

Since 2020, the Syllabus Reading Group is organized by Kunsthal Gent around the work 'Syllabus' by the Irish artist Jesse Jones: a monumental curtain with the arm of Silvia Federici, creating a space for (activist) gathering.

This season is organized in collaboration with Jesse Jones and feminist researcher Barbara Mahlknecht, around the theme of care - from care work to institutional intimacies. How do we create a culture of care in our everyday encounters and social reproductions?

We gather online, once a month on Thursday nights, from February 24 onwards. We will read and discuss a new text every month. You can also just join and listen in. Welcome!

SUMMER 2022
The Syllabus reading groups lead up to a live Syllabus Summer School Retreat, to take place in Kunsthal Gent in July 2022. This live Summer school aims to ask the question: How do we return to a space of shared cultural community after two years of lockdown?

PREVIOUS
- Excerpt of SYLLABUS workshop with Silvia Federici, “On Joyful Militancy
- Previous Syllabus Reading groups and activities


Dates Syllabus 2022

ONLINE
Syllabus Reading Group #7, Thursday 24 Feb 19.00 - 21.00
Syllabus Reading Group #8, Thursday 31 March 19.00 - 20.30
Syllabus Reading Group #9, Thursday 28 April 19.00 - 20.30
Syllabus Reading Group #10, Thursday 19 May 19.00 - 20.30
Syllabus Reading Group #11, Thursday 23 June 19.00 - 20.30

LIVE
Syllabus Retreat 4 - 24 July
Syllabus Summer School 21 - 24 July

MDC KH jessejones 017 HR

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