#112: Spaces today don’t need to be curated, but occupied.|#39: Be the early stepping stone in an artist’s career|#74: Last one out turns of the lights.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#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|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#99: Evolve according to changing needs.|#20: Are exhibitions the most suitable form for the art that we present?|#32: Be pan-gender polyphonic.|#119: Be a space of production.|#124: Do less, do it better.|#28: Make Contracts.|#16: Kunsthal Gent will always be a construction site.|#105: Kunsthal Gent is local in scale, but globally connected.|#68: Once in a while we need to get out of utopia and get something done.|#81: Things come alive when there is friction.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#51: How do we invite the true unknown?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#35: The artist fee should be good.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#53: Immaterial support for artists is important.|#10: Don’t be obsessed with numbers.|#19: Have fun at the exhibition.|#6: Demand that visitors are active.|#112: Spaces today don’t need to be curated, but occupied.|#39: Be the early stepping stone in an artist’s career|#74: Last one out turns of the lights.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#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|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#99: Evolve according to changing needs.|#20: Are exhibitions the most suitable form for the art that we present?|#32: Be pan-gender polyphonic.|#119: Be a space of production.|#124: Do less, do it better.|#28: Make Contracts.|#16: Kunsthal Gent will always be a construction site.|#105: Kunsthal Gent is local in scale, but globally connected.|#68: Once in a while we need to get out of utopia and get something done.|#81: Things come alive when there is friction.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#51: How do we invite the true unknown?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#35: The artist fee should be good.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#53: Immaterial support for artists is important.|#10: Don’t be obsessed with numbers.|#19: Have fun at the exhibition.|#6: Demand that visitors are active.|
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09.06.2021 17:00

Alternative conference by Cairography Collective, Sarma/Oral Site & HaRaKa

Pay what you can

PRICKS #2:
Touching publication

CAIROGRAPHY COLLECTIVE presents
PRICKS #2 - TOUCHING PUBLICATION
An alternative conference on independent publishing in pandemic time

For this alternative conference 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.

Ever since the Covid-19 pandemic was announced as a rupture to our epistemologies, social lives, artistic practices, and research work, we were struck by the speed of catastrophe(s) and systems that enact them. From colonial encroachment to totalitarian technological tools taking over our bodies under the guise of pandemic control. Performance artists created radio plays, choreographers danced on TikTok, and conferences moved to Zoom. The technological shift that happened to artistic practice and performance challenges the foundations of the reflection on art and curatorial practices. However, this shift that is seemingly nascent has taken over many geopolitical regions outside of Europe and the US decades before Covid-19. Living under colonial rule, or within states of exception and emergency, artists, and cultural workers in places like Palestine, Egypt, or Syria have always explored alternative possibilities of being somewhere, and of being elsewhere. Both in creating solutions for radical practice to exist outside of the habitual institutional settings, and equally to explore the production of knowledge and specifically of publishing away from the commonly trodden paths.

This edition of PRICKS, Touching Publication, looks at acts of independent publishing and alternative institutional setups that echo with the institutional, social and epistemological rupture that we witness today because of the pandemic. PRICKS is an alternative conference that travels within different artistic and academic settings, carving out spaces for urgent conversation. Radical thinking is supported, unfinished papers are welcome, and stuttering panels are de rigueur.

PRICKS #2 -Touching Publication
brings together Maha Mamoun, Adam Kucharski, Reem Shadid, Ahmed Naji, Sana Gobbeh, Enkidu Khaled, Mariana Karkoutly, Myriam Van Imschoot, Ismail Fayed, Adham Hafez and others, and will explore questions of independent publishing, commons and urbanities, digital resistance and alternative art economies, and new institutions for the arts.

To attend the conference, please register via the link at the top.


PRICKS Photograph by Adham Hafez 2

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