#62: Be kind. Full dishwasher: empty it.|#6: Demand that visitors are active.|#99: Evolve according to changing needs.|#91: Embrace doubt.|#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.|#51: How do we invite the true unknown?|#117: Consider design, organisational structures and architecture as programme.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#36: We support production separately.|#35: The artist fee should be good.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#37: Operate with radical transparency.|#26: More artists, less borders.|#16: Kunsthal Gent will always be a construction site.|#21: Live with the exhibition, spend time with it.|#137: Use the publication as programming space|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#55: Keep basic human needs on the forefront.|#53: Immaterial support for artists is important.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#14: Can you also remain a toddler institution?|#59: Always protect the floor when painting (or pouring concrete)|#32: Be pan-gender polyphonic.|#28: Make Contracts.|#74: Last one out turns of the lights.|#62: Be kind. Full dishwasher: empty it.|#6: Demand that visitors are active.|#99: Evolve according to changing needs.|#91: Embrace doubt.|#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.|#51: How do we invite the true unknown?|#117: Consider design, organisational structures and architecture as programme.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#36: We support production separately.|#35: The artist fee should be good.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#37: Operate with radical transparency.|#26: More artists, less borders.|#16: Kunsthal Gent will always be a construction site.|#21: Live with the exhibition, spend time with it.|#137: Use the publication as programming space|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#55: Keep basic human needs on the forefront.|#53: Immaterial support for artists is important.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#14: Can you also remain a toddler institution?|#59: Always protect the floor when painting (or pouring concrete)|#32: Be pan-gender polyphonic.|#28: Make Contracts.|#74: Last one out turns of the lights.|
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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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