#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#4: Pay what you can.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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.|#54: What about disabled artists?|#10: Don’t be obsessed with numbers.|#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.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#62: Be kind. Full dishwasher: empty it.|#117: Consider design, organisational structures and architecture as programme.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#17: An exhibition is never finished.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#37: Operate with radical transparency.|#29: We make the program for the artist that we exhibit.|#51: How do we invite the true unknown?|#84: The White Cube is a lie.|#90: The best systems have a failure or ‘a hole’ in them…|#44: No name tags at dinner.|#119: Be a space of production.|#92: We’re a learning organisation.|#35: The artist fee should be good.|#28: Make Contracts.|#20: Are exhibitions the most suitable form for the art that we present?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#4: Pay what you can.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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.|#54: What about disabled artists?|#10: Don’t be obsessed with numbers.|#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.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#62: Be kind. Full dishwasher: empty it.|#117: Consider design, organisational structures and architecture as programme.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#17: An exhibition is never finished.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#37: Operate with radical transparency.|#29: We make the program for the artist that we exhibit.|#51: How do we invite the true unknown?|#84: The White Cube is a lie.|#90: The best systems have a failure or ‘a hole’ in them…|#44: No name tags at dinner.|#119: Be a space of production.|#92: We’re a learning organisation.|#35: The artist fee should be good.|#28: Make Contracts.|#20: Are exhibitions the most suitable form for the art that we present?|
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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