#132: Things will always look weird when you’re the first doing it.|#74: Last one out turns of the lights.|#30: Don’t work with artists who are assholes.|#21: Live with the exhibition, spend time with it.|#107: Build a community / scene.|#59: Always protect the floor when painting (or pouring concrete)|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#35: The artist fee should be good.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#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.|#89: Build-in impurity within the organisation.|#55: Keep basic human needs on the forefront.|#119: Be a space of production.|#14: Can you also remain a toddler institution?|#34: We pay artists.|#137: Use the publication as programming space|#81: Things come alive when there is friction.|#94: No objections? Just do it.|#124: Do less, do it better.|#20: Are exhibitions the most suitable form for the art that we present?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#51: How do we invite the true unknown?|#54: What about disabled artists?|#32: Be pan-gender polyphonic.|#132: Things will always look weird when you’re the first doing it.|#74: Last one out turns of the lights.|#30: Don’t work with artists who are assholes.|#21: Live with the exhibition, spend time with it.|#107: Build a community / scene.|#59: Always protect the floor when painting (or pouring concrete)|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#35: The artist fee should be good.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#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.|#89: Build-in impurity within the organisation.|#55: Keep basic human needs on the forefront.|#119: Be a space of production.|#14: Can you also remain a toddler institution?|#34: We pay artists.|#137: Use the publication as programming space|#81: Things come alive when there is friction.|#94: No objections? Just do it.|#124: Do less, do it better.|#20: Are exhibitions the most suitable form for the art that we present?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#51: How do we invite the true unknown?|#54: What about disabled artists?|#32: Be pan-gender polyphonic.|
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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

MDC KHG 20210129 AB 003 LR

EXHIBITION VIEWS
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