#37: Operate with radical transparency.|#91: Embrace doubt.|#62: Be kind. Full dishwasher: empty it.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#26: More artists, less borders.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#39: Be the early stepping stone in an artist’s career|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#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.|#35: The artist fee should be good.|#98: The success of it will not lie in the result but in the process.|#44: No name tags at dinner.|#14: Can you also remain a toddler institution?|#32: Be pan-gender polyphonic.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#59: Always protect the floor when painting (or pouring concrete)|#82: Clean and sterile looks professional, but really boring.|#92: We’re a learning organisation.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#74: Last one out turns of the lights.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#15: Kunsthal Gent aims to be an extension of public space.|#28: Make Contracts.|#16: Kunsthal Gent will always be a construction site.|#37: Operate with radical transparency.|#91: Embrace doubt.|#62: Be kind. Full dishwasher: empty it.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#26: More artists, less borders.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#39: Be the early stepping stone in an artist’s career|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#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.|#35: The artist fee should be good.|#98: The success of it will not lie in the result but in the process.|#44: No name tags at dinner.|#14: Can you also remain a toddler institution?|#32: Be pan-gender polyphonic.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#59: Always protect the floor when painting (or pouring concrete)|#82: Clean and sterile looks professional, but really boring.|#92: We’re a learning organisation.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#74: Last one out turns of the lights.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#15: Kunsthal Gent aims to be an extension of public space.|#28: Make Contracts.|#16: Kunsthal Gent will always be a construction site.|
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Opening: 29.01.2021 – 20:00

29.01—14.03.2021

Exhibition

Aline Bouvy:
As Sirens Rise and Fall

As Sirens Rise and Fall

An installation by Aline Bouvy in collaboration with Pierre Dozin and Julien Bouille

Challenging the police logo
Dabbing the forehead with wonder oil
Weaving the spider web
Being afraid of your number
Rolling naked in yoghurt
Building a hut with pillows
Parterre - down-to-earth detox


Emeline Depas


One wonders why there are so few symphonies written in F sharp minor. Could it be because of the melancholic sound, the haunting eloquence of that key, the obscure bitterness but also intense passion that resounds through it? The plaintive and haunting song of the tempting mermaids, figures of the nourishing sea as well as of the destructive ocean, could probably be imagined in F sharp minor. However, it would have to be audible under water, like the device invented in 1820 by engineer Charles Cagniard de Latour, called the siren, which is capable of producing very high-pitched tones of varying frequencies: a modulating, ascending and descending tone. Now that this sound signal has become widely used to warn of danger, its codification has become universal.

Four identical remote-controlled cars have been assigned their own voice. They are vehicles-annex-instruments, whose singing is mostly in F sharp minor, and their interaction as a duo, trio or quartet depends on the persons driving them. The possibilities of combinations are endless. They are activated and developed according to the way in which the vehicles are guided.

Control is simulated by means of the remote control and the steering wheel. The track is free, there are no signposts, with only the walls of the room acting as boundaries.

Text: Aline Bouvy


Aline Bouvy (1974, Brussels) studied at the Ecole de Recherche Graphique (ERG) in Brussels and at the Jan Van Eyck Academie in Maastricht. At the base of her multidisciplinary practice is her refusal to compromise or adapt to systems of our society that aim to regulate our desire, conforming it to the norms and values that form that same society. Through the implementation of poetic strategies and a rigorous aesthetic with engaged humor, she questions the hierarchies of established powers and patriarchal systems. Her practice strives to confront what is considered outside the norm, through narratives often rooted in the very context of the places where she presents her work, simultaneously questioning the role of the artist and their engagement through contemporary cultural productions.



Aline Bouvy:
As Sirens Rise and Fall

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EXHIBITION VIEWS
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