#37: Operate with radical transparency.|#117: Consider design, organisational structures and architecture as programme.|#28: Make Contracts.|#119: Be a space of production.|#29: We make the program for the artist that we exhibit.|#34: We pay artists.|#35: The artist fee should be good.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#107: Build a community / scene.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#2: Bring something new to the city of Ghent.|#94: No objections? Just do it.|#6: Demand that visitors are active.|#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.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#32: Be pan-gender polyphonic.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#10: Don’t be obsessed with numbers.|#21: Live with the exhibition, spend time with it.|#99: Evolve according to changing needs.|#39: Be the early stepping stone in an artist’s career|#36: We support production separately.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#40: Follow the artist|#30: Don’t work with artists who are assholes.|#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|#53: Immaterial support for artists is important.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#92: We’re a learning organisation.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#82: Clean and sterile looks professional, but really boring.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#59: Always protect the floor when painting (or pouring concrete)|#62: Don’t be a dick. Full dishwasher: empty it.|#19: Have fun at the exhibition.|#74: Last one out turns of the lights.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#89: Build-in impurity within the organisation.|#55: Keep basic human needs on the forefront.|#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.|#91: Embrace doubt.|#15: Kunsthal Gent aims to be an extension of public space.|#84: The White Cube is a lie.|#127: Remain practical: what happens to the work in an endless exhibition?|#56: Take a lunch break.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#44: No name tags at dinner.|#51: How do we invite the true unknown?|#14: Can you also remain a toddler institution?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#65: No excuses: Thursday morning, team meeting.|#112: Spaces today don’t need to be curated, but occupied.|#137: Use the publication as programming space|#54: What about disabled artists?|#26: More artists, less borders.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#98: The success of it will not lie in the result but in the process.|#132: Things will always look weird when you’re the first doing it.|#81: Things come alive when there is friction.|#64: Arrange a distribution of forces.|#111: Do it together.|#90: The best systems have a failure or ‘a hole’ in them…|#61: No all male install teams.|#124: Do less, do it better.|#17: An exhibition is never finished.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#4: Pay what you can.|#16: Kunsthal Gent will always be a construction site.|#68: Once in a while we need to get out of utopia and get something done.|#20: Are exhibitions the most suitable form for the art that we present?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#105: Kunsthal Gent is local in scale, but globally connected.|#37: Operate with radical transparency.|#117: Consider design, organisational structures and architecture as programme.|#28: Make Contracts.|#119: Be a space of production.|#29: We make the program for the artist that we exhibit.|#34: We pay artists.|#35: The artist fee should be good.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#107: Build a community / scene.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#2: Bring something new to the city of Ghent.|#94: No objections? Just do it.|#6: Demand that visitors are active.|#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.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#32: Be pan-gender polyphonic.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#10: Don’t be obsessed with numbers.|#21: Live with the exhibition, spend time with it.|#99: Evolve according to changing needs.|#39: Be the early stepping stone in an artist’s career|#36: We support production separately.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#40: Follow the artist|#30: Don’t work with artists who are assholes.|#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|#53: Immaterial support for artists is important.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#92: We’re a learning organisation.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#82: Clean and sterile looks professional, but really boring.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#59: Always protect the floor when painting (or pouring concrete)|#62: Don’t be a dick. Full dishwasher: empty it.|#19: Have fun at the exhibition.|#74: Last one out turns of the lights.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#89: Build-in impurity within the organisation.|#55: Keep basic human needs on the forefront.|#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.|#91: Embrace doubt.|#15: Kunsthal Gent aims to be an extension of public space.|#84: The White Cube is a lie.|#127: Remain practical: what happens to the work in an endless exhibition?|#56: Take a lunch break.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#44: No name tags at dinner.|#51: How do we invite the true unknown?|#14: Can you also remain a toddler institution?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#65: No excuses: Thursday morning, team meeting.|#112: Spaces today don’t need to be curated, but occupied.|#137: Use the publication as programming space|#54: What about disabled artists?|#26: More artists, less borders.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#98: The success of it will not lie in the result but in the process.|#132: Things will always look weird when you’re the first doing it.|#81: Things come alive when there is friction.|#64: Arrange a distribution of forces.|#111: Do it together.|#90: The best systems have a failure or ‘a hole’ in them…|#61: No all male install teams.|#124: Do less, do it better.|#17: An exhibition is never finished.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#4: Pay what you can.|#16: Kunsthal Gent will always be a construction site.|#68: Once in a while we need to get out of utopia and get something done.|#20: Are exhibitions the most suitable form for the art that we present?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#105: Kunsthal Gent is local in scale, but globally connected.|
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Opening: 04.07.2020 – 11:00

04.07—30.08.2020

Exhibition

Sanam Kathibi:
Cruelest of the Seas

Sanam Khatibi
Cruelest of the seas
04.07 - 30.08.2020 (NB: new end date)

With this temporary exhibition of Sanam Khatibi, Kunsthal Gent opens its new project space, KHG#3. In and around this pavilion, located on top of the cinema and only accessible via a footbridge, Khatibi presents a number of paintings and compositions with objects collected by the artist.


Sanam Khatibi in Kunsthal Gent
[Text by Nikolaas Demoen]

The still lifes of Sanam Khatibi are meticulously painted. With the finest brush she applies light and shadow in oil paint to various miniature shapes. The paintings do not have a striking composition. All objects loom haphazardly from the golden or black background and seem to sing in polyphony in the vein of Orlando di Lasso, Johannes Ockeghem and other masters of polyphony.

Sanam Khatibi is a medium.
She paints what is whispered in her ear. In a state between waking and sleeping, images of absurdly small vases, skulls, shells, corals and flowers, and other pieces we know from the canon of classical still life, appear to her.
Sometimes, in the middle of the night, these pieces even fall out of her body orifices and form unpredictable constellations on her wet pillow and sheet.
The highly detailed objects come from a golden age (not to be confused with the Dutch 1600s) that has yet to come. A century of self-flagellation, cosmology, human sacrifice, femininity, prestige and headhunters.
A century in which all forms surrounding us mysteriously shrink. This science fiction world will reduce the human footprint. The world will shrink to the scale of a postcard depicting a painted still life of Sanam Khatibi.

Apricots become smaller than peas,
hoses become smaller than rubber bands,
fruit bowls become smaller than thimbles,
skulls become smaller than dice,
frogs become smaller than spiders,
Delft blue vases become smaller than a Lego brick,
corals become smaller than capillaries,
leaves become smaller than fingernails,
monkeys become smaller than grasshoppers
flowers become smaller than ladybirds
. . .
..

Biography + more info

With the support of:


Sanam Kathibi:
Cruelest of the Seas

MDC KH Sanam Khatibi 010 HR

EXHIBITION VIEWS
MDC KH Sanam Khatibi 005 HR
MDC KH Sanam Khatibi 001 HR
MDC KH Sanam Khatibi 003 HR
MDC KH Sanam Khatibi 004 HR
MDC KH Sanam Khatibi 006 HR
MDC KH Sanam Khatibi 007 HR
MDC KH Sanam Khatibi 008 HR
MDC KH Sanam Khatibi 009 HR
MDC KH Sanam Khatibi 010 HR
MDC KH Sanam Khatibi 011 HR
MDC KH Sanam Khatibi 013 LR
MDC KH Sanam Khatibi 012 LR