#89: Build-in impurity within the organisation.|#15: Kunsthal Gent aims to be an extension of public space.|#112: Spaces today don’t need to be curated, but occupied.|#55: Keep basic human needs on the forefront.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#64: Arrange a distribution of forces.|#124: Do less, do it better.|#35: The artist fee should be good.|#127: Remain practical: what happens to the work in an endless exhibition?|#20: Are exhibitions the most suitable form for the art that we present?|#98: The success of it will not lie in the result but in the process.|#53: Immaterial support for artists is important.|#74: Last one out turns of the lights.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#34: We pay artists.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#32: Be pan-gender polyphonic.|#16: Kunsthal Gent will always be a construction site.|#111: Do it together.|#94: No objections? Just do it.|#82: Clean and sterile looks professional, but really boring.|#59: Always protect the floor when painting (or pouring concrete)|#92: We’re a learning organisation.|#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|#89: Build-in impurity within the organisation.|#15: Kunsthal Gent aims to be an extension of public space.|#112: Spaces today don’t need to be curated, but occupied.|#55: Keep basic human needs on the forefront.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#64: Arrange a distribution of forces.|#124: Do less, do it better.|#35: The artist fee should be good.|#127: Remain practical: what happens to the work in an endless exhibition?|#20: Are exhibitions the most suitable form for the art that we present?|#98: The success of it will not lie in the result but in the process.|#53: Immaterial support for artists is important.|#74: Last one out turns of the lights.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#34: We pay artists.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#32: Be pan-gender polyphonic.|#16: Kunsthal Gent will always be a construction site.|#111: Do it together.|#94: No objections? Just do it.|#82: Clean and sterile looks professional, but really boring.|#59: Always protect the floor when painting (or pouring concrete)|#92: We’re a learning organisation.|#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|
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Opening: 06.03.2020 – 20:00

07—22.03.2020

Exhibition

manoeuvre presenteert:
Fake Calligraphy #4

ATTENTION! All activities are postponed from 13.03 onwards.

Manoeuvre presents: Fake Calligraphy #4Ada Van Hoorebeke, Maartje Fliervoet, Kato Six, manoeuvre and participantsFriday, March 6, 20:00 opening and introduction by the artists

On view in Kunsthal Gent on Saturday and Sunday until 22 March, 11:00-18:00. Activation sessions in presence of the artists: Saturday 7 & 14 MarchFinnissage: Sunday 22 March

Manoeuvre is an art center for craft, co-creation and diversity in the Rabot in Ghent. Since 2017 Manoeuvre has been working with Ada Van Hoorebeke, Maartje Fliervoet and participants on the project Fake Calligraphy, a sculpture that can be activated, inspired by Batik Besurek, a traditional calligraphic batik pattern from Bengkulu (Indonesia). Previous activations of the sculpture took place at Wiels in Brussels.

Batik Besurek was originally designed by Indonesian Muslims and is derived from Arabic script, but the characters are not always legible. With the unreadable calligraphic batik patterns in mind, the artists developed a sculpture in which notations of a language without literal meaning are central.

Fake Calligraphy is not a literal continuation of the Batik Besurek. From their backgrounds in various language systems, participants collaborate on language drawing patterns without literal meaning. Their activities thus form a means of communication so that Fake Calligraphy can be a platform for the exchange of speech, body language, technique and cultural knowledge. Different stages of batik production are covered - such as design, wax painting on textiles and dyeing with natural dyes. In addition, writing is done with iron gall ink and the folding of metal curls.

For Fake Calligraphy #4 at Kunsthal Gent, the sculpture is adapted to the context of Kunsthal Gent and the history of the caermersklooster. In addition to a working environment in full action, previous cycles of Fake Calligraphy can also be seen at the Kunsthal.

INVITATION

In the weekends of 7/8 March, 14/15 March and 21/22 March, Fake Calligraphy in Kunsthal Gent will be activated by manoeuvre, various participants and the artists.

You are kindly invited to participate in the design phases, such as: writing with iron gall ink, batik of false calligraphy and the folding of a metal curls in fake writing.

Participation is free and takes about 15-45 min. per participation.Please register for participation at: nathalie@manoeuvre.org before 5 MarchIf desired, your name can be added to a list of participants.

Activation sessions:

Sat. 7 March

O 14:00-14:45

O 15:00-15:45

O 16:00-16:45

Sat. 14 March

O 14:00-14:45

O 15:00-15:45

O 16:00-16:45

manoeuvre presenteert:
Fake Calligraphy #4

MDC KH Manoeuvre 1 006 HR

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