#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.|
