#91: Embrace doubt.|#117: Consider design, organisational structures and architecture as programme.|#82: Clean and sterile looks professional, but really boring.|#21: Live with the exhibition, spend time with it.|#19: Have fun at the exhibition.|#81: Things come alive when there is friction.|#14: Can you also remain a toddler institution?|#59: Always protect the floor when painting (or pouring concrete)|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#4: Pay what you can.|#132: Things will always look weird when you’re the first doing it.|#17: An exhibition is never finished.|#51: How do we invite the true unknown?|#112: Spaces today don’t need to be curated, but occupied.|#32: Be pan-gender polyphonic.|#6: Demand that visitors are active.|#37: Operate with radical transparency.|#10: Don’t be obsessed with numbers.|#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|#40: Follow the artist|#30: Don’t work with artists who are assholes.|#127: Remain practical: what happens to the work in an endless exhibition?|#54: What about disabled artists?|#61: No all male install teams.|#91: Embrace doubt.|#117: Consider design, organisational structures and architecture as programme.|#82: Clean and sterile looks professional, but really boring.|#21: Live with the exhibition, spend time with it.|#19: Have fun at the exhibition.|#81: Things come alive when there is friction.|#14: Can you also remain a toddler institution?|#59: Always protect the floor when painting (or pouring concrete)|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#4: Pay what you can.|#132: Things will always look weird when you’re the first doing it.|#17: An exhibition is never finished.|#51: How do we invite the true unknown?|#112: Spaces today don’t need to be curated, but occupied.|#32: Be pan-gender polyphonic.|#6: Demand that visitors are active.|#37: Operate with radical transparency.|#10: Don’t be obsessed with numbers.|#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|#40: Follow the artist|#30: Don’t work with artists who are assholes.|#127: Remain practical: what happens to the work in an endless exhibition?|#54: What about disabled artists?|#61: No all male install teams.|
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28.04.2023 19:00

Documentary

Pay what you can

Vrijdagavonden: White Balls on Walls

  • The bar is open from 19:00
  • Program starts at 20:00
  • Entrance: Pay What You Can

Meatballs in tomato sauce will also be offered this evening (with bread). Price: Pay What You Can.

White Balls on Walls

The slogan "Meet the icons of modern art" should be scratched off the glass wall of the Stedelijk Museum in Amsterdam. After all, who are these icons of modern art anyway? Who defines them and at whose expense? In 2019, when director Sarah Vos began filming for this documentary, some 90 percent of the art in the Stedelijk was made by white men. That has to change, believes director Rein Wolfs. But that's easier said than done, it turns out as director Sarah Vos follows him and his team in their efforts to increase diversity in the collection and staff.

It is brave that the Stedelijk allowed a behind-the-scenes camera into this process that raises uncomfortable and abrasive questions. Can you still call a painting "The Prostitutes"? Should you look at the artist's skin color or gender when judging art? And how do you deal with visitors who call it "overly politically correct"?

The film is more than just a behind-the-scenes look at a museum. It shows a new perspective on art history and is a period document that beautifully captures the struggle that many historical and cultural institutions are currently going through.

Friday Evenings

Every Friday evening for 9 weeks, Kunsthal Gent will host a program centered around one or more artists, a collective or organization. From an artist talk, debate or book presentation to a performance, documentary or film evening.

The events are partly related to Kunsthal Gent's artistic program and have grown out of the courses of artists with whom we currently collaborate, such as the evenings with Eleni Kamma (in collaboration with Hans Bryssinck and KASK Performance students), Dieter Durinck and Ben Benaouisse.

However, much of Vrijdagavonden's program comes about in dialogue and collaboration with local partners and artists. For this series we collaborated with, among others, Lochness, School of Love, Martina Petrović & Robert Monchen (In de Ruimte) Filip Van Dingenen and Hélène Meyer (Piloot).

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Programma Friday Evenings

17.03 — Ghosts of the Monastery
Film evening about the carmelite monastery.

24.03De Nieuwe Organisatie
Ben Benaouisse looks back after four months at Kunsthal Gent.

31.03Deep Hanging Out
A pot-luck evening with School of Love: reflecting together on non-romantic love.

07.04Nessy Xtreme
Lochness transforms Kunsthal Gent's old chapel into a modular platform. Break a leg!

14.04Where Do We Go From Here
A public three-course dinner in which Martina Petroviç talks to Robert Monchen (In De Ruimte) about his experience with off-spaces.

21.04Casting Call: Introducing Meta-Pierke
Together with KASK performance students, Eleni Kamma presents a new video. A costume by Jivan Van der Ende.

28.04White Balls on Walls
Being more inclusive? More difficult than expected! A documentary by Sarah Vos, i.c.w. the Stedelijk Museum in Amsterdam.

05.05Travelogue of De Lieve
Video by Filip Van Dingenen and Hélène Meyer about a parade of troubadours along De Lieve. With debriefing.

12.05Boekpresentatie 'Bootleg Paintings'
Posture Editions presents Dieter Durinck's new book.

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