#64: Arrange a distribution of forces.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#28: Make Contracts.|#4: Pay what you can.|#6: Demand that visitors are active.|#21: Live with the exhibition, spend time with it.|#119: Be a space of production.|#94: No objections? Just do it.|#89: Build-in impurity within the organisation.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#61: No all male install teams.|#2: Bring something new to the city of Ghent.|#10: Don’t be obsessed with numbers.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#16: Kunsthal Gent will always be a construction site.|#107: Build a community / scene.|#132: Things will always look weird when you’re the first doing it.|#55: Keep basic human needs on the forefront.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#54: What about disabled artists?|#81: Things come alive when there is friction.|#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.|#17: An exhibition is never finished.|#64: Arrange a distribution of forces.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#28: Make Contracts.|#4: Pay what you can.|#6: Demand that visitors are active.|#21: Live with the exhibition, spend time with it.|#119: Be a space of production.|#94: No objections? Just do it.|#89: Build-in impurity within the organisation.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#61: No all male install teams.|#2: Bring something new to the city of Ghent.|#10: Don’t be obsessed with numbers.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#16: Kunsthal Gent will always be a construction site.|#107: Build a community / scene.|#132: Things will always look weird when you’re the first doing it.|#55: Keep basic human needs on the forefront.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#54: What about disabled artists?|#81: Things come alive when there is friction.|#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.|#17: An exhibition is never finished.|
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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