#21: Live with the exhibition, spend time with it.|#20: Are exhibitions the most suitable form for the art that we present?|#98: The success of it will not lie in the result but in the process.|#14: Can you also remain a toddler institution?|#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.|#65: No excuses: Thursday morning, team meeting.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#54: What about disabled artists?|#137: Use the publication as programming space|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#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|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#6: Demand that visitors are active.|#124: Do less, do it better.|#16: Kunsthal Gent will always be a construction site.|#127: Remain practical: what happens to the work in an endless exhibition?|#39: Be the early stepping stone in an artist’s career|#44: No name tags at dinner.|#35: The artist fee should be good.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#59: Always protect the floor when painting (or pouring concrete)|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#81: Things come alive when there is friction.|#84: The White Cube is a lie.|#21: Live with the exhibition, spend time with it.|#20: Are exhibitions the most suitable form for the art that we present?|#98: The success of it will not lie in the result but in the process.|#14: Can you also remain a toddler institution?|#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.|#65: No excuses: Thursday morning, team meeting.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#54: What about disabled artists?|#137: Use the publication as programming space|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#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|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#6: Demand that visitors are active.|#124: Do less, do it better.|#16: Kunsthal Gent will always be a construction site.|#127: Remain practical: what happens to the work in an endless exhibition?|#39: Be the early stepping stone in an artist’s career|#44: No name tags at dinner.|#35: The artist fee should be good.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#59: Always protect the floor when painting (or pouring concrete)|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#81: Things come alive when there is friction.|#84: The White Cube is a lie.|
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21.02.2020 20:00

project launch & cross-interview

Pay what you can

TWIIID presents:
What’s in a library?

Friday 21.02.2020, 20:00

Twee-eiige Drieling (TWIIID) presents: What’s in a library?
Project launch and cross-interview between TWIIID & second shelf

As a starting point for their research project ‘What’s in a Library?’, Twee-eiige Drieling (TWIIID) invites artist Heide Hinrichs, initiator of the collaborative research project second shelf for a cross-interview. They will discuss the role, function and composition of a (niche) library, as well as attempts to re-interpret, recontextualize and activate the project.

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What’s in a library?
Between February and May, Kunsthal Gent will give Twee-eiige Drieling (TWIIID) the opportunity to further their research project 'What’s in a library?'. TWIIID selected twenty works that specifically focus on legal, socio-economic and/or artistic issues that manifest themselves within or around, as a consequence of or despite an artistic practice. They are looking for readers to leave ideas, critiques, interpretations or references in this collection. The comments left behind are collected and form an appropriation of the original book. In this way, the library actively links unchanging literature to the current legal and socio-economic context. A 'lending form' inquires about the identity of the reader and grants provenance to the newly compiled book.

Contact TWIIID via ask@twiiid.be or walk in on a Saturday to reserve a book and discussion.

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Twee-eiige Drieling (TWIIID) act as a sounding board for a myriad of legal issues in the cultural sector. Their library plays an important role. Magazines, books and reference works are not only authoritative sources for formulating advice, but also inspire vision and guide potential policy proposals. This guiding role of the library underlines the importance of constantly scrutinizing the collection; to analyse its ideology and to look for its blind spots.

The research project second shelf asks how alternative canons can be generated in the library of the Royal Academy of Fine Arts Antwerp. The core of the project is the formation of a new collection of books in the library of the Royal Academy that document the work of female, non-white and non-heterosexual artists and related theoretical texts. Part of this process of raising awareness is thinking about the creative networks that libraries make evident (and sometimes conceal). More information: https://second-shelf.org/about/

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