#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#36: We support production separately.|#53: Immaterial support for artists is important.|#112: Spaces today don’t need to be curated, but occupied.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#65: No excuses: Thursday morning, team meeting.|#82: Clean and sterile looks professional, but really boring.|#56: Take a lunch break.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#137: Use the publication as programming space|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#55: Keep basic human needs on the forefront.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#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.|#35: The artist fee should be good.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#61: No all male install teams.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#6: Demand that visitors are active.|#28: Make Contracts.|#107: Build a community / scene.|#34: We pay artists.|#40: Follow the artist|#19: Have fun at the exhibition.|#74: Last one out turns of the lights.|#32: Be pan-gender polyphonic.|#2: Bring something new to the city of Ghent.|#15: Kunsthal Gent aims to be an extension of public space.|#68: Once in a while we need to get out of utopia and get something done.|#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.|#16: Kunsthal Gent will always be a construction site.|#117: Consider design, organisational structures and architecture as programme.|#84: The White Cube is a lie.|#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|#62: Don’t be a dick. Full dishwasher: empty it.|#51: How do we invite the true unknown?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#10: Don’t be obsessed with numbers.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#92: We’re a learning organisation.|#39: Be the early stepping stone in an artist’s career|#99: Evolve according to changing needs.|#4: Pay what you can.|#127: Remain practical: what happens to the work in an endless exhibition?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#21: Live with the exhibition, spend time with it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#94: No objections? Just do it.|#64: Arrange a distribution of forces.|#90: The best systems have a failure or ‘a hole’ in them…|#20: Are exhibitions the most suitable form for the art that we present?|#119: Be a space of production.|#26: More artists, less borders.|#37: Operate with radical transparency.|#124: Do less, do it better.|#14: Can you also remain a toddler institution?|#105: Kunsthal Gent is local in scale, but globally connected.|#30: Don’t work with artists who are assholes.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#59: Always protect the floor when painting (or pouring concrete)|#44: No name tags at dinner.|#89: Build-in impurity within the organisation.|#54: What about disabled artists?|#17: An exhibition is never finished.|#29: We make the program for the artist that we exhibit.|#132: Things will always look weird when you’re the first doing it.|#98: The success of it will not lie in the result but in the process.|#91: Embrace doubt.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#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.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#81: Things come alive when there is friction.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#36: We support production separately.|#53: Immaterial support for artists is important.|#112: Spaces today don’t need to be curated, but occupied.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#65: No excuses: Thursday morning, team meeting.|#82: Clean and sterile looks professional, but really boring.|#56: Take a lunch break.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#137: Use the publication as programming space|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#55: Keep basic human needs on the forefront.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#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.|#35: The artist fee should be good.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#61: No all male install teams.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#6: Demand that visitors are active.|#28: Make Contracts.|#107: Build a community / scene.|#34: We pay artists.|#40: Follow the artist|#19: Have fun at the exhibition.|#74: Last one out turns of the lights.|#32: Be pan-gender polyphonic.|#2: Bring something new to the city of Ghent.|#15: Kunsthal Gent aims to be an extension of public space.|#68: Once in a while we need to get out of utopia and get something done.|#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.|#16: Kunsthal Gent will always be a construction site.|#117: Consider design, organisational structures and architecture as programme.|#84: The White Cube is a lie.|#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|#62: Don’t be a dick. Full dishwasher: empty it.|#51: How do we invite the true unknown?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#10: Don’t be obsessed with numbers.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#92: We’re a learning organisation.|#39: Be the early stepping stone in an artist’s career|#99: Evolve according to changing needs.|#4: Pay what you can.|#127: Remain practical: what happens to the work in an endless exhibition?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#21: Live with the exhibition, spend time with it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#94: No objections? Just do it.|#64: Arrange a distribution of forces.|#90: The best systems have a failure or ‘a hole’ in them…|#20: Are exhibitions the most suitable form for the art that we present?|#119: Be a space of production.|#26: More artists, less borders.|#37: Operate with radical transparency.|#124: Do less, do it better.|#14: Can you also remain a toddler institution?|#105: Kunsthal Gent is local in scale, but globally connected.|#30: Don’t work with artists who are assholes.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#59: Always protect the floor when painting (or pouring concrete)|#44: No name tags at dinner.|#89: Build-in impurity within the organisation.|#54: What about disabled artists?|#17: An exhibition is never finished.|#29: We make the program for the artist that we exhibit.|#132: Things will always look weird when you’re the first doing it.|#98: The success of it will not lie in the result but in the process.|#91: Embrace doubt.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#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.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#81: Things come alive when there is friction.|
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01.05.2021 11:00

Artist Talks, panels, exhibition

Pay what you can

Cairography Collective, Sarma/Oral Site & HaRaKa:
Touching publication

Touching publication. Independent publishing in art and its tangible agendas

"To publish is to touch", is how choreographer and editor Lisa Nelson explained the mission behind grass-root publishing as a necessity to reach out with print and thus to assure 'imprint' and impact when creating communities through readership and shared interest as a political gesture.

For this day-long presentation at Kunsthal Gent, Cairography Collective, Sarma/Oral Site and HaRaKa, three organisations with a collaborative history in various forms of publishing, join forces to make the different agenda's tangible behind recent publication projects, their formats, concerns and outcome.

These questions will be touched upon: how to break into consensus aesthetics, how to democratize access to publication tools and instruments, what defines the 'public' of publication when facing increasing censorship and commodification, and what is the role of orality within a polyphonic range of perspectives that cannot be thought of as writing only?

The curators set-up an ensemble of artist talks, panels, screening and an exhibition/display fueled by Cairography Collective, Sarma and Oral Site, with the participation of guests and the launch of a new 'publication'.