#20: Are exhibitions the most suitable form for the art that we present?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#35: The artist fee should be good.|#29: We make the program for the artist that we exhibit.|#21: Live with the exhibition, spend time with it.|#6: Demand that visitors are active.|#94: No objections? Just do it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#127: Remain practical: what happens to the work in an endless exhibition?|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#98: The success of it will not lie in the result but in the process.|#51: How do we invite the true unknown?|#32: Be pan-gender polyphonic.|#81: Things come alive when there is friction.|#64: Arrange a distribution of forces.|#137: Use the publication as programming space|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#34: We pay artists.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#112: Spaces today don’t need to be curated, but occupied.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#39: Be the early stepping stone in an artist’s career|#65: No excuses: Thursday morning, team meeting.|#105: Kunsthal Gent is local in scale, but globally connected.|#20: Are exhibitions the most suitable form for the art that we present?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#35: The artist fee should be good.|#29: We make the program for the artist that we exhibit.|#21: Live with the exhibition, spend time with it.|#6: Demand that visitors are active.|#94: No objections? Just do it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#127: Remain practical: what happens to the work in an endless exhibition?|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#98: The success of it will not lie in the result but in the process.|#51: How do we invite the true unknown?|#32: Be pan-gender polyphonic.|#81: Things come alive when there is friction.|#64: Arrange a distribution of forces.|#137: Use the publication as programming space|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#34: We pay artists.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#112: Spaces today don’t need to be curated, but occupied.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#39: Be the early stepping stone in an artist’s career|#65: No excuses: Thursday morning, team meeting.|#105: Kunsthal Gent is local in scale, but globally connected.|
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26.01.2023 18:00

Workshop

Pay what you can

Univers’elle presenteert: Urban Safe Space met Leto Keunen

Bar Univers'elle invites artist Leto Keunen for the workshop Urban Safe Space, in which she uses textiles to discuss feelings of insecurity and fear in public space. The workshop is part of her project 'Urban Quilts'. During the workshop, we make a subjective mapping of public space: we visualise pain points, frustrations, feelings of insecurity or experiences in the city. We talk about our fears and the moments when these fears occur. Everyone is welcome! Whether you want to share an experience or not always remains your own choice.

Bar Univers'elle
Univers'elle, a network of Ghent women with a focus on diversity, organises monthly Bar Univers'elle. Since 2021, they regularly convene in Syllabus, an artwork by Jesse Jones: a monumental curtain in Kunsthal Gent that welcomes (activist) groups.

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American girl in italy 1951