#105: Kunsthal Gent is local in scale, but globally connected.|#35: The artist fee should be good.|#54: What about disabled artists?|#137: Use the publication as programming space|#90: The best systems have a failure or ‘a hole’ in them…|#74: Last one out turns of the lights.|#94: No objections? Just do it.|#112: Spaces today don’t need to be curated, but occupied.|#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.|#92: We’re a learning organisation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#16: Kunsthal Gent will always be a construction site.|#30: Don’t work with artists who are assholes.|#4: Pay what you can.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#117: Consider design, organisational structures and architecture as programme.|#14: Can you also remain a toddler institution?|#26: More artists, less borders.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#98: The success of it will not lie in the result but in the process.|#91: Embrace doubt.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#29: We make the program for the artist that we exhibit.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#105: Kunsthal Gent is local in scale, but globally connected.|#35: The artist fee should be good.|#54: What about disabled artists?|#137: Use the publication as programming space|#90: The best systems have a failure or ‘a hole’ in them…|#74: Last one out turns of the lights.|#94: No objections? Just do it.|#112: Spaces today don’t need to be curated, but occupied.|#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.|#92: We’re a learning organisation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#16: Kunsthal Gent will always be a construction site.|#30: Don’t work with artists who are assholes.|#4: Pay what you can.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#117: Consider design, organisational structures and architecture as programme.|#14: Can you also remain a toddler institution?|#26: More artists, less borders.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#98: The success of it will not lie in the result but in the process.|#91: Embrace doubt.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#29: We make the program for the artist that we exhibit.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|
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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