#6: Demand that visitors are active.|#111: Do it together.|#119: Be a space of production.|#82: Clean and sterile looks professional, but really boring.|#51: How do we invite the true unknown?|#14: Can you also remain a toddler institution?|#105: Kunsthal Gent is local in scale, but globally connected.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#112: Spaces today don’t need to be curated, but occupied.|#53: Immaterial support for artists is important.|#62: Don’t be a dick. Full dishwasher: empty it.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#28: Make Contracts.|#56: Take a lunch break.|#65: No excuses: Thursday morning, team meeting.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#124: Do less, do it better.|#132: Things will always look weird when you’re the first doing it.|#68: Once in a while we need to get out of utopia and get something done.|#59: Always protect the floor when painting (or pouring concrete)|#10: Don’t be obsessed with numbers.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#54: What about disabled artists?|#98: The success of it will not lie in the result but in the process.|#92: We’re a learning organisation.|#32: Be pan-gender polyphonic.|#127: Remain practical: what happens to the work in an endless exhibition?|#39: Be the early stepping stone in an artist’s career|#37: Operate with radical transparency.|#29: We make the program for the artist that we exhibit.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#137: Use the publication as programming space|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#81: Things come alive when there is friction.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#20: Are exhibitions the most suitable form for the art that we present?|#117: Consider design, organisational structures and architecture as programme.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#30: Don’t work with artists who are assholes.|#21: Live with the exhibition, spend time with it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#19: Have fun at the exhibition.|#99: Evolve according to changing needs.|#44: No name tags at dinner.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#90: The best systems have a failure or ‘a hole’ in them…|#91: Embrace doubt.|#94: No objections? Just do it.|#107: Build a community / scene.|#34: We pay artists.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#40: Follow the artist|#74: Last one out turns of the lights.|#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|#26: More artists, less borders.|#15: Kunsthal Gent aims to be an extension of public space.|#17: An exhibition is never finished.|#36: We support production separately.|#16: Kunsthal Gent will always be a construction site.|#89: Build-in impurity within the organisation.|#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.|#4: Pay what you can.|#61: No all male install teams.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#64: Arrange a distribution of forces.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#84: The White Cube is a lie.|#2: Bring something new to the city of Ghent.|#35: The artist fee should be good.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#55: Keep basic human needs on the forefront.|#6: Demand that visitors are active.|#111: Do it together.|#119: Be a space of production.|#82: Clean and sterile looks professional, but really boring.|#51: How do we invite the true unknown?|#14: Can you also remain a toddler institution?|#105: Kunsthal Gent is local in scale, but globally connected.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#112: Spaces today don’t need to be curated, but occupied.|#53: Immaterial support for artists is important.|#62: Don’t be a dick. Full dishwasher: empty it.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#28: Make Contracts.|#56: Take a lunch break.|#65: No excuses: Thursday morning, team meeting.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#124: Do less, do it better.|#132: Things will always look weird when you’re the first doing it.|#68: Once in a while we need to get out of utopia and get something done.|#59: Always protect the floor when painting (or pouring concrete)|#10: Don’t be obsessed with numbers.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#54: What about disabled artists?|#98: The success of it will not lie in the result but in the process.|#92: We’re a learning organisation.|#32: Be pan-gender polyphonic.|#127: Remain practical: what happens to the work in an endless exhibition?|#39: Be the early stepping stone in an artist’s career|#37: Operate with radical transparency.|#29: We make the program for the artist that we exhibit.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#137: Use the publication as programming space|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#81: Things come alive when there is friction.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#20: Are exhibitions the most suitable form for the art that we present?|#117: Consider design, organisational structures and architecture as programme.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#30: Don’t work with artists who are assholes.|#21: Live with the exhibition, spend time with it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#19: Have fun at the exhibition.|#99: Evolve according to changing needs.|#44: No name tags at dinner.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#90: The best systems have a failure or ‘a hole’ in them…|#91: Embrace doubt.|#94: No objections? Just do it.|#107: Build a community / scene.|#34: We pay artists.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#40: Follow the artist|#74: Last one out turns of the lights.|#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|#26: More artists, less borders.|#15: Kunsthal Gent aims to be an extension of public space.|#17: An exhibition is never finished.|#36: We support production separately.|#16: Kunsthal Gent will always be a construction site.|#89: Build-in impurity within the organisation.|#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.|#4: Pay what you can.|#61: No all male install teams.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#64: Arrange a distribution of forces.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#84: The White Cube is a lie.|#2: Bring something new to the city of Ghent.|#35: The artist fee should be good.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#55: Keep basic human needs on the forefront.|
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Opening: 25.01.2019 – 00:00

25.01—∞

Exhibition

Prem Krishnamurthy:
Endless Exhibition

Endless Exhibition, 2018 – ∞
Materials and dimensions variable
Duration: forever

Endless Exhibition is a curatorial-manifesto-as-artwork by Prem Krishnamurthy. Building on his long work as a designer, writer, exhibition maker, and founder of P!—the “Mom-and-Pop-Kunsthalle” that first existed in New York City from 2012–2017—the artwork surveys the overproduction, mass consumption, and fleeting attention span of the contemporary art world. To redefine the stakes of exhibition making, Endless Exhibition proposes a simple temporal play: starting today, every exhibition, art fair, and biennial mounted should be permanent, remaining on view forever.

A performative, polymorphic work—incarnated in texts, images, PDF presentations, lectures, publications, audio and video documentation, contractual agreements, and even whole exhibition programs and institutional formats—Endless Exhibition poses timely questions of space, waste, labor, and future histories. At the same time, it challenges the supposed autonomy of discrete artworks, fulfilling, in Krishnamurthy’s own words from a 1999 notebook entry, “[Principle] 5: reappearance of the project—the project should never be ‘done’—it should always invite addition, rethinking, recontextualizing…”

In 2019, Kunsthal Gent acquired the piece as part of its inaugural institutional framework, “Kunsthal as City.” In this context, it accrues layers of architecture and programming to construct an ongoing archaeology. Instantiating itself over time, Endless Exhibition rehearses new approaches to changing the global art ecosystem by rewriting its rules.

Prem Krishnamurthy is based in Berlin and New York. He is a partner and director of the multidisciplinary design practice Wkshps. Previously, he was a founder of the design studio Project Projects, winner of the Cooper Hewitt’s National Design Award. He serves as co-Artistic Director of FRONT International 2021, the contemporary art triennial in Cleveland and Northern Ohio. As an independent exhibition maker, he was an Artistic Director of the inaugural Fikra Graphic Design Biennial, Ministry of Graphic Design, and has curated exhibitions internationally including at P!, the acclaimed "Mom-and-Pop-Kunsthalle" that he founded in New York’s Chinatown in 2012. He has written for numerous catalogues and magazines and has edited books with Berkeley Art Museum, Cabinet Books, Duke University Press, Paper Monument, and others. His first book, the experimental memoir/monograph/manifesto, P!DF, was published by O-R-G in 2017.

Prem Krishnamurthy:
Endless Exhibition

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