#59: Always protect the floor when painting (or pouring concrete)|#127: Remain practical: what happens to the work in an endless exhibition?|#56: Take a lunch break.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#21: Live with the exhibition, spend time with it.|#26: More artists, less borders.|#2: Bring something new to the city of Ghent.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#39: Be the early stepping stone in an artist’s career|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#90: The best systems have a failure or ‘a hole’ in them…|#54: What about disabled artists?|#32: Be pan-gender polyphonic.|#61: No all male install teams.|#132: Things will always look weird when you’re the first doing it.|#51: How do we invite the true unknown?|#53: Immaterial support for artists is important.|#64: Arrange a distribution of forces.|#6: Demand that visitors are active.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#117: Consider design, organisational structures and architecture as programme.|#37: Operate with radical transparency.|#59: Always protect the floor when painting (or pouring concrete)|#127: Remain practical: what happens to the work in an endless exhibition?|#56: Take a lunch break.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#21: Live with the exhibition, spend time with it.|#26: More artists, less borders.|#2: Bring something new to the city of Ghent.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#39: Be the early stepping stone in an artist’s career|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#90: The best systems have a failure or ‘a hole’ in them…|#54: What about disabled artists?|#32: Be pan-gender polyphonic.|#61: No all male install teams.|#132: Things will always look weird when you’re the first doing it.|#51: How do we invite the true unknown?|#53: Immaterial support for artists is important.|#64: Arrange a distribution of forces.|#6: Demand that visitors are active.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#117: Consider design, organisational structures and architecture as programme.|#37: Operate with radical transparency.|
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27.05.2022 20:00

Exhibition opening & screening of video performance

Pay what you can

Grace Schwindt:
Your movement

Opening: 27 May 2022
Exhibition & video performance
Screening in cinema, with conversation afterwards: 20.00

Please note! The video performance will start at 20.00 in the cinema. Doors open from 19.30 onwards.

For the exhibition Your Movement in the PavillionKHG#03 in Kunsthal Gent, Grace Schwindt worked together with several female participants to create a Movement and Sound Archive, based on shared memories of significant or traumatic events around migration. Instead of using words, the body served as a meditator for sharing these memories, using movements and sounds. The resulting movements were performed for the camera; the medium of film invites the viewer to be close to the movement and to the person making it and is intended to be an intimate and equal encounter with a body on the screen.

In response to the movement workshops, Schwindt also created several sculptures in ceramics and bronze.

Your Movement is the result of a work period in the Development Programme of Kunsthal Gent.

Filmstill: Sahar Khosravi for Grace Schwindt

BIO

Grace Schwindt (b. 1979, Germany) works with film, live performance, sculpture and drawing. Through her work she unfolds visual narratives exploring the effects of capitalist culture upon the body and psyche of the individual. She analyses the role that bodies, language and objects play in the construction of history and memory. Her process often originates from specific research and conversations with a wide range of people including activists, artists, musicians, politicians, refugees or her own family members. Many of her works examine aspects of historical events with an emphasis on social relations. The different media employed are connected and intertwined, shapes from costumes reappear in drawings while sculptures echo performative gestures.

Schwindt's works have been presented in museums and galleries as well as in theatres and other performance contexts. Solo exhibitions include Five Surfaces All White at the Centre for Contemporary Arts in Glasgow and In Silence at Rozenstraat - a rose is a rose is a rose in Amsterdam in 2019, Silent Dance at Zeno X Gallery in Antwerp in 2018, Tiffany Vase at Rose Lejeune Gallery in London in 2017. Live performances have been presented at Volksbühne in Berlin and Kunstmuseum in St. Gallen in 2019, David Robert Arts Foundation in London and Frascati Theatre in Amsterdam in 2018, Kaaitheatre in Brussels in 2017, Royal Academy of Arts as part of Block Universe Performance Festival in London in 2016, Museum M in Leuven in 2013 and South London Gallery in London in 2011. Recent group exhibitions include Breaking the Mould -- Sculpture by Women since 1945, Arts Council Collection touring exhibition, Refugees: Forced to Flee at the Imperial War Museum in London in 2020-2021.

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Grace Schwindt Sahar Khosravi Pic3

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