#30: Don’t work with artists who are assholes.|#29: We make the program for the artist that we exhibit.|#54: What about disabled artists?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#84: The White Cube is a lie.|#59: Always protect the floor when painting (or pouring concrete)|#117: Consider design, organisational structures and architecture as programme.|#39: Be the early stepping stone in an artist’s career|#51: How do we invite the true unknown?|#82: Clean and sterile looks professional, but really boring.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#90: The best systems have a failure or ‘a hole’ in them…|#34: We pay artists.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#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|#17: An exhibition is never finished.|#105: Kunsthal Gent is local in scale, but globally connected.|#112: Spaces today don’t need to be curated, but occupied.|#20: Are exhibitions the most suitable form for the art that we present?|#36: We support production separately.|#137: Use the publication as programming space|#124: Do less, do it better.|#64: Arrange a distribution of forces.|#30: Don’t work with artists who are assholes.|#29: We make the program for the artist that we exhibit.|#54: What about disabled artists?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#84: The White Cube is a lie.|#59: Always protect the floor when painting (or pouring concrete)|#117: Consider design, organisational structures and architecture as programme.|#39: Be the early stepping stone in an artist’s career|#51: How do we invite the true unknown?|#82: Clean and sterile looks professional, but really boring.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#90: The best systems have a failure or ‘a hole’ in them…|#34: We pay artists.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#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|#17: An exhibition is never finished.|#105: Kunsthal Gent is local in scale, but globally connected.|#112: Spaces today don’t need to be curated, but occupied.|#20: Are exhibitions the most suitable form for the art that we present?|#36: We support production separately.|#137: Use the publication as programming space|#124: Do less, do it better.|#64: Arrange a distribution of forces.|
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Opening: 25.05.2019 – 14:00

25—27.05.2019

Exhibition

BOB KIL:
BOB, BOB

In 2013, artist Bob Kil used the production budget for her solo exhibition at Objectif Exhibitions in Antwerp to fix the surface of the institution’s concrete floor, thereby creating ‘You owe me big time’ - a permanent artwork that outlasted both her exhibition and the institution itself.

At 2 p.m. on 25 May 2019, Kil will perform ‘bob bob’ in the courtyard garden of Kunsthal Gent, via an array of dispersed audio speakers.

Curator: Chris Fitzpatrick

Bob Kil recounts the form of a sleep journey in her performances. With pitfalls and peaks, her voice rises and falls at an unexpected pace. Bob Kil made her first public appearance at DRAF x O2 Forum 11th Evening of Performances, London, 2 October 2018. Bob Kil lives and works in Berlin.

Chris Fitzpatrick (b. 1978, US) was the director of Kunstverein München, in Munich, from 2015 to 2019. He was the director of Objectif Exhibitions, in Antwerp, from 2012 to 2015.

BOB KIL:
BOB, BOB

Bobkil