#19: Have fun at the exhibition.|#74: Last one out turns of the lights.|#39: Be the early stepping stone in an artist’s career|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#44: No name tags at dinner.|#112: Spaces today don’t need to be curated, but occupied.|#59: Always protect the floor when painting (or pouring concrete)|#132: Things will always look weird when you’re the first doing it.|#36: We support production separately.|#6: Demand that visitors are active.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#117: Consider design, organisational structures and architecture as programme.|#119: Be a space of production.|#37: Operate with radical transparency.|#127: Remain practical: what happens to the work in an endless exhibition?|#53: Immaterial support for artists is important.|#14: Can you also remain a toddler institution?|#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|#20: Are exhibitions the most suitable form for the art that we present?|#105: Kunsthal Gent is local in scale, but globally connected.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#19: Have fun at the exhibition.|#74: Last one out turns of the lights.|#39: Be the early stepping stone in an artist’s career|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#44: No name tags at dinner.|#112: Spaces today don’t need to be curated, but occupied.|#59: Always protect the floor when painting (or pouring concrete)|#132: Things will always look weird when you’re the first doing it.|#36: We support production separately.|#6: Demand that visitors are active.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#117: Consider design, organisational structures and architecture as programme.|#119: Be a space of production.|#37: Operate with radical transparency.|#127: Remain practical: what happens to the work in an endless exhibition?|#53: Immaterial support for artists is important.|#14: Can you also remain a toddler institution?|#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|#20: Are exhibitions the most suitable form for the art that we present?|#105: Kunsthal Gent is local in scale, but globally connected.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|
