#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#68: Once in a while we need to get out of utopia and get something done.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#91: Embrace doubt.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#127: Remain practical: what happens to the work in an endless exhibition?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#39: Be the early stepping stone in an artist’s career|#81: Things come alive when there is friction.|#35: The artist fee should be good.|#21: Live with the exhibition, spend time with it.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#124: Do less, do it better.|#55: Keep basic human needs on the forefront.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#74: Last one out turns of the lights.|#111: Do it together.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#36: We support production separately.|#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.|#61: No all male install teams.|#107: Build a community / scene.|#56: Take a lunch break.|#82: Clean and sterile looks professional, but really boring.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#68: Once in a while we need to get out of utopia and get something done.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#91: Embrace doubt.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#127: Remain practical: what happens to the work in an endless exhibition?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#39: Be the early stepping stone in an artist’s career|#81: Things come alive when there is friction.|#35: The artist fee should be good.|#21: Live with the exhibition, spend time with it.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#124: Do less, do it better.|#55: Keep basic human needs on the forefront.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#74: Last one out turns of the lights.|#111: Do it together.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#36: We support production separately.|#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.|#61: No all male install teams.|#107: Build a community / scene.|#56: Take a lunch break.|#82: Clean and sterile looks professional, but really boring.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|
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Opening: 30.09.2022 – 20:00

30.09—∞

Exhibition

Femmy Otten:
We once were one

We Once Were One is the title of a wooden sculpture created especially for the context of Kunsthal Gent. Between November 2021 and September 2022, Dutch artist Femmy Otten slowly transformed a lime tree stump into the body of a woman. "The tree is a woman, formed by rings. One every year," she tells us. The hair falls over her face like tears. On her chest, Otten depicts venal lips, which feel like a protective cloak. The opening of the cloak spreads all over her belly. "Because we were once one."

In 2002, Otten first made a portrait of Aline, a woman she was working with in a theatre at the time. 20 years later, she sought her out again and Aline was the model for this sculpture.

Femmy Otten interprets the body as a source of knowledge, rather than a spectacle or object of reflection or desire. Her work focuses on inventing rituals, which are always there, even if they are not explicitly represented. For Femmy Otten, the starting points for this sculpture - whether they lie in Greek sculpture, the Hindu and Buddhist pantheons of Cambodia's Angkor Wat, or pre-Raphaelite sculpture - are deeply related to religion and mysticism.

That is precisely why she made this sculpture for this location, a monastery church of the Discalced Carmelites. A medieval male stronghold into which she brings an erotic female energy. "Aline was always there, in this church, in this place," she says. Now that Femmy Otten gave her a body of lime wood, she can finally claim her place.


Bio

Femmy Otten was born in Amsterdam, 1981, lives and works in The Hague, the Netherlands Femmy Otten studied at the HISK Higher Institute for Fine Art in Ghent and was a resident artist at the Rijksakademie van beeldende kunsten in Amsterdam and Atelier Holsboer, Cité Internationales des Arts in Paris. In 2013 Otten was awarded the de Volkskrant Beeldende Kunst Prijs. In 2014 she was one of three artists who were selected by the Dutch government to make an official portrait of King Willem Alexander. Recently her work was on view in the following exhibitions: ‘Rainbow Woman’ , De Warande, ‘One way or another’, SMAK, Gent, ‘EURAZIE’ M HKA, ‘One tear at a time’, Fons Welters. ‘Wistful Eye’ Drents Museum. ’Minor Heroïsm’, Zilberman Gallery, group show during the 14th Istanbul Biennial. ‘The Restless Gods’, performance Museum M, Louvain. Een nieuwe koning, een nieuw portret’, Rijksmuseum, Amsterdam. ’De Volkskrant Beeldende Kunst Prijs’, Stedelijk Museum Schiedam. ‘Yellow Minutes’, P///akt, Amsterdam. ‘Royal Award for Modern Painting’, Royal Palace, Amsterdam. ’Hydrarchy: Power and Resistance at Sea’, Gasworks, London . Her work is represented in public and private collections, including the collections of SCHUNCK* Stedelijk Museum Schiedam, Museum Voorlinden, collection of the M HKA , Drents Museum and the AkzoNobel Foundation. Femmy Otten is represented by Galerie Fons Welters, Amsterdam.

Femmy Otten:
We once were one

PLACEHOLDER SEP4

EXHIBITION VIEWS
Portret Femmy Otten