#137: Use the publication as programming space|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#55: Keep basic human needs on the forefront.|#56: Take a lunch break.|#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.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#34: We pay artists.|#39: Be the early stepping stone in an artist’s career|#111: Do it together.|#14: Can you also remain a toddler institution?|#64: Arrange a distribution of forces.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#117: Consider design, organisational structures and architecture as programme.|#28: Make Contracts.|#59: Always protect the floor when painting (or pouring concrete)|#127: Remain practical: what happens to the work in an endless exhibition?|#26: More artists, less borders.|#4: Pay what you can.|#124: Do less, do it better.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#132: Things will always look weird when you’re the first doing it.|#137: Use the publication as programming space|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#55: Keep basic human needs on the forefront.|#56: Take a lunch break.|#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.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#34: We pay artists.|#39: Be the early stepping stone in an artist’s career|#111: Do it together.|#14: Can you also remain a toddler institution?|#64: Arrange a distribution of forces.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#117: Consider design, organisational structures and architecture as programme.|#28: Make Contracts.|#59: Always protect the floor when painting (or pouring concrete)|#127: Remain practical: what happens to the work in an endless exhibition?|#26: More artists, less borders.|#4: Pay what you can.|#124: Do less, do it better.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#132: Things will always look weird when you’re the first doing it.|
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Opening: 05.04.2019 – 19:00

05.04—12.05.2019

Exhibition

Daniel de Paula:
«estrutura insuperável»

For its second exhibition inside Kunsthal Gent, KUNSTHALLE São Paulo invites Brazilian artist Daniel de Paula, whose work and investigations reflect upon the production of space in our everyday lives as the reproduction and affirmation of dynamics of power and dominance, thus revealing critical concerns upon the political, social, economic, and historical structures that shape and govern places and relationships.

By means of a variety of strategies such as extensive negotiations within institutions, as well as the appropriation, displacement, and recontextualisation of preexisting narrative-embedded objects and images, his installations, sculptures, actions, and videos are concerned with the underlying operating systems of the world and emphasize the indivisibility between materials and the contexts from which they arise.

Finally, on the occasion of the exhibition at KUNSTHALLE São Paulo, the artist displays an accumulation of works within a conceptual schema entitled estrutura insuperável, yet without use of individual titles, dates, or immediately discernible and delimited frontiers between the wide-ranging sculptural manifestations. High-frequency trading antennas, conveyor belts, geotechnical core-samples, inscribed fragments of marble, a lunar rock, ballast water, and images of flare inspections at petroleum and gas refineries symbiotically coexist alongside viewers and architectural specificities that inhabit the exhibition space, all in an attempt to concentrate and correlate presumably dissociable objects in order to highlight the complex social forces concealed within materiality.


About the artist

Daniel de Paula (Boston, 1987) is a Brazilian artist currently working at the Jan van Eyck Academie and based between the Maastricht, Netherlands and São Paulo, Brazil.

Daniel de Paula:
«estrutura insuperável»

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EXHIBITION VIEWS
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