#59: Always protect the floor when painting (or pouring concrete)|#98: The success of it will not lie in the result but in the process.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#94: No objections? Just do it.|#56: Take a lunch break.|#36: We support production separately.|#127: Remain practical: what happens to the work in an endless exhibition?|#29: We make the program for the artist that we exhibit.|#124: Do less, do it better.|#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|#51: How do we invite the true unknown?|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#132: Things will always look weird when you’re the first doing it.|#54: What about disabled artists?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#35: The artist fee should be good.|#32: Be pan-gender polyphonic.|#64: Arrange a distribution of forces.|#37: Operate with radical transparency.|#99: Evolve according to changing needs.|#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.|#111: Do it together.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#137: Use the publication as programming space|#59: Always protect the floor when painting (or pouring concrete)|#98: The success of it will not lie in the result but in the process.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#94: No objections? Just do it.|#56: Take a lunch break.|#36: We support production separately.|#127: Remain practical: what happens to the work in an endless exhibition?|#29: We make the program for the artist that we exhibit.|#124: Do less, do it better.|#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|#51: How do we invite the true unknown?|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#132: Things will always look weird when you’re the first doing it.|#54: What about disabled artists?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#35: The artist fee should be good.|#32: Be pan-gender polyphonic.|#64: Arrange a distribution of forces.|#37: Operate with radical transparency.|#99: Evolve according to changing needs.|#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.|#111: Do it together.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#137: Use the publication as programming space|
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05.06.2020 20:00

Hosted by Other Women's Flowers, Jesse Jones, Sigrid Vertommen

Pay what you can

SYLLABUS READING GROUP #2:
Caliban and the Witch - Introduction

Syllabus reading group #2
Caliban and the Witch: introduction
5 June 2020, 8 - 10 pm (CET), in English

Together with the Ghent book club Other Women's Flowers, Kunsthal Gent organises a monthly reading group around Jesse Jones' Syllabus. Join us online on Friday June 5 at 8 pm (CET) for a live reading of several chapters from 'Caliban and the Witch' by feminist activist Silvia Federici. You’re very welcome to join the reading or listen in - also in case you do not manage to read the text beforehand.

This session will be hosted by Other Women’s Flowers, artist Jesse Jones and feminist researcher Sigrid Vertommen (UGent). Also this second session will take place online, with live images from inside Jesse Jones’ work in Kunsthal Gent: the space formed by a monumental curtain with an image of Silvia Federici’s left arm, where the reading group would take place if we would not be in lockdown.

PRACTICAL
Register at info@kunsthal.gent: we will send you a pdf of the text and a link to the meeting. We will read together the preface (pp 7- 10) and the introduction (pp 11-20).


BACKGROUND INFO
Silvia Federici is a feminist, writer, teacher, and activist. Her research and political organizing accompany a long list of publications on philosophy and feminist theory, women’s history, education, culture, international politics, and the worldwide struggle against capitalist globalisation and for a feminist reconstruction of the commons.
Introduction: 8 minutes with Silvia Federici (video)

Jesse Jones is a Dublin-based artist and teaches visual arts at the TU Dublin School of Creative Arts. Her practice crosses the media of film, performance and installation. She often works in collaborative structures and investigates how historical examples of shared culture can play a role in our current social and political experiences.

Other Women’s Flowers is a beehive, a book-club and an artistic playground. It was born out of the wish to share, discover and discuss the written work of women, and to do so in a celebratory, playful way. Our dinner gatherings are a moment to share literary enthusiasm, debate contemporary challenges and rethink solidarity, one book at a time. Everyone is welcome to join the gatherings.

Sigrid Vertommen is conducting postdoctoral research on the political economy of global fertility chains at the Department of Conflict and Development Studies at Ghent University. She is particularly interested in understanding women's role and participation in the bio-economy as egg vendors and surrogates through the lens of reproductive labour.

Syllabus: In January 2020, Jesse Jones’ work Syllabus opened in Kunsthal Gent: a monumental curtain that when pulled, fills the space with an image of Silvia Federici’s left arm. As agreed in a contract signed on the opening, the work is to stay in the exhibition space for 5 years, on the condition that Kunsthal Gent will host a monthly reading group or related event inside the circle that is created by the work. The contract foresees that ‘Events may be postponed where necessary due to unforeseen circumstances including, but not limited to, acts of God or enemy, earthquake, fire, or flood, riot, war or civil commotion, trials, examinations, pestilence, epidemic or accusations of demonic possession.’ A facsimile of the contract is available from Kunsthal Gent.

Image: Jesse Jones, Syllabus (detail)

MDC KH jessejones 021 HR