#131: A visitor who comes back after a week might discover new additions to the exhibition.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#36: We support production separately.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#74: Last one out turns of the lights.|#39: Be the early stepping stone in an artist’s career|#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|#107: Build a community / scene.|#81: Things come alive when there is friction.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#117: Consider design, organisational structures and architecture as programme.|#54: What about disabled artists?|#15: Kunsthal Gent aims to be an extension of public space.|#124: Do less, do it better.|#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.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#44: No name tags at dinner.|#132: Things will always look weird when you’re the first doing it.|#111: Do it together.|#98: The success of it will not lie in the result but in the process.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#28: Make Contracts.|#65: No excuses: Thursday morning, team meeting.|#51: How do we invite the true unknown?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#36: We support production separately.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#74: Last one out turns of the lights.|#39: Be the early stepping stone in an artist’s career|#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|#107: Build a community / scene.|#81: Things come alive when there is friction.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#117: Consider design, organisational structures and architecture as programme.|#54: What about disabled artists?|#15: Kunsthal Gent aims to be an extension of public space.|#124: Do less, do it better.|#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.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#44: No name tags at dinner.|#132: Things will always look weird when you’re the first doing it.|#111: Do it together.|#98: The success of it will not lie in the result but in the process.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#28: Make Contracts.|#65: No excuses: Thursday morning, team meeting.|#51: How do we invite the true unknown?|
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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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