#14: Can you also remain a toddler institution?|#82: Clean and sterile looks professional, but really boring.|#105: Kunsthal Gent is local in scale, but globally connected.|#36: We support production separately.|#65: No excuses: Thursday morning, team meeting.|#111: Do it together.|#127: Remain practical: what happens to the work in an endless exhibition?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#21: Live with the exhibition, spend time with it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#98: The success of it will not lie in the result but in the process.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#2: Bring something new to the city of Ghent.|#20: Are exhibitions the most suitable form for the art that we present?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#119: Be a space of production.|#84: The White Cube is a lie.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#92: We’re a learning organisation.|#53: Immaterial support for artists is important.|#117: Consider design, organisational structures and architecture as programme.|#30: Don’t work with artists who are assholes.|#29: We make the program for the artist that we exhibit.|#89: Build-in impurity within the organisation.|#44: No name tags at dinner.|#14: Can you also remain a toddler institution?|#82: Clean and sterile looks professional, but really boring.|#105: Kunsthal Gent is local in scale, but globally connected.|#36: We support production separately.|#65: No excuses: Thursday morning, team meeting.|#111: Do it together.|#127: Remain practical: what happens to the work in an endless exhibition?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#21: Live with the exhibition, spend time with it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#98: The success of it will not lie in the result but in the process.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#2: Bring something new to the city of Ghent.|#20: Are exhibitions the most suitable form for the art that we present?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#119: Be a space of production.|#84: The White Cube is a lie.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#92: We’re a learning organisation.|#53: Immaterial support for artists is important.|#117: Consider design, organisational structures and architecture as programme.|#30: Don’t work with artists who are assholes.|#29: We make the program for the artist that we exhibit.|#89: Build-in impurity within the organisation.|#44: No name tags at dinner.|
This website uses cookies to improve your user experience. More info

16.11.2018 00:00

Pay what you can

Arno van Roosmalen:
Where is the Exhibition

Over een nieuwe, onderzoekende programma-opzet van Stroom Den Haag

Arno van Roosmalen licht zijn ideeën toe voor het nieuwe programmaformat van Stroom, "Where's the exhibition?". Doorgaans is een reeks tentoonstellingen de ruggengraat van het programma van een presentatie-instelling. Stroom zet de komende jaren in op 6 programmalijnen die voor een groot deel onderzoekend van aard zijn en waarmee de organisatie zich heroriënteert op de relatie met de omgeving, met kunstenaars en haar positie herijkt. De nieuwe ruggengraat wordt gevormd door een langdurige, ‘niet doelgerichte’ en intieme relatie met een kleine selectie kunstenaars met een maatschappelijk geëngageerde praktijk. Volgens Van Roosmalen zijn hedendaagse kunstorganisaties onvoldoende toegerust om dit soort praktijken effectief te bemiddelen. Stroom roept de tentoonstellingsmachine een halt toe en werkt toe naar een organisatie die inspanningen verricht om sterke verbindingen met maatschappelijke partijen tot stand te brengen.

Arno van Roosmalen is directeur van Stroom Den Haag