#15: Kunsthal Gent aims to be an extension of public space.|#56: Take a lunch break.|#21: Live with the exhibition, spend time with it.|#20: Are exhibitions the most suitable form for the art that we present?|#30: Don’t work with artists who are assholes.|#124: Do less, do it better.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#89: Build-in impurity within the organisation.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#53: Immaterial support for artists is important.|#84: The White Cube is a lie.|#61: No all male install teams.|#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.|#40: Follow the artist|#111: Do it together.|#32: Be pan-gender polyphonic.|#16: Kunsthal Gent will always be a construction site.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#28: Make Contracts.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#99: Evolve according to changing needs.|#35: The artist fee should be good.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#15: Kunsthal Gent aims to be an extension of public space.|#56: Take a lunch break.|#21: Live with the exhibition, spend time with it.|#20: Are exhibitions the most suitable form for the art that we present?|#30: Don’t work with artists who are assholes.|#124: Do less, do it better.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#89: Build-in impurity within the organisation.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#53: Immaterial support for artists is important.|#84: The White Cube is a lie.|#61: No all male install teams.|#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.|#40: Follow the artist|#111: Do it together.|#32: Be pan-gender polyphonic.|#16: Kunsthal Gent will always be a construction site.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#28: Make Contracts.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#99: Evolve according to changing needs.|#35: The artist fee should be good.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|
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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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