#26: More artists, less borders.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#91: Embrace doubt.|#124: Do less, do it better.|#61: No all male install teams.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#54: What about disabled artists?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#127: Remain practical: what happens to the work in an endless exhibition?|#51: How do we invite the true unknown?|#119: Be a space of production.|#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.|#112: Spaces today don’t need to be curated, but occupied.|#55: Keep basic human needs on the forefront.|#56: Take a lunch break.|#137: Use the publication as programming space|#59: Always protect the floor when painting (or pouring concrete)|#132: Things will always look weird when you’re the first doing it.|#53: Immaterial support for artists is important.|#37: Operate with radical transparency.|#35: The artist fee should be good.|#90: The best systems have a failure or ‘a hole’ in them…|#111: Do it together.|#10: Don’t be obsessed with numbers.|#20: Are exhibitions the most suitable form for the art that we present?|#26: More artists, less borders.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#91: Embrace doubt.|#124: Do less, do it better.|#61: No all male install teams.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#54: What about disabled artists?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#127: Remain practical: what happens to the work in an endless exhibition?|#51: How do we invite the true unknown?|#119: Be a space of production.|#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.|#112: Spaces today don’t need to be curated, but occupied.|#55: Keep basic human needs on the forefront.|#56: Take a lunch break.|#137: Use the publication as programming space|#59: Always protect the floor when painting (or pouring concrete)|#132: Things will always look weird when you’re the first doing it.|#53: Immaterial support for artists is important.|#37: Operate with radical transparency.|#35: The artist fee should be good.|#90: The best systems have a failure or ‘a hole’ in them…|#111: Do it together.|#10: Don’t be obsessed with numbers.|#20: Are exhibitions the most suitable form for the art that we present?|
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Opening: 19.03.2021 – 20:00

19.03—11.04.2021

Exhibition

In de Ruimte presents:
H Y P E R M A R K E T

In De Ruimte

In De Ruimte is the first organisation to settle in the Refuge, a new programme line through which Kunsthal Gent offers a platform to artistic organisations from Ghent.

In De Ruimte is a multidisciplinary arts platform that aims to bridge the gap between starting artists and the professional field. The arts platform is dedicated to development, experimentation, professionalisation and presentation with an open and accessible structure. In de Ruimte is looking for a new location since 2019, after a temporary accommodation along the Fransevaart in Ledeberg.

H Y P E R M A R K E T

Kunsthal Gent / Refuge
19.03.21 - 11.04.21

The term 'hyper' is related to the theory of Jean Baudrillard, which states that reality has become a hyper-reality of itself. The theory assumes a mediatised reality in which the original has been lost.

The distinction between high and low art no longer concerns an aesthetic judgment. Only the context is still decisive. Thus, what is placed within the institution is automatically a (forced) part of the higher culture experience.

The value of art is now no longer related to its cultural relevance but depends on both its initial value and its predicted value. The value is influenced by the market, the media and the institutional mechanisms.

Within the exhibition hypermarket, we ask the question whether the institution is still topical and relevant. The so-called 'higher quality' that the institute is supposed to accommodate is shaped by less visible factors. There are multiple interests at play in the placement of the artwork. With the hypermarket, we attempt to offer a satirical response to these institutional mechanisms.

We opt for a scenography that is based on consumerism. The exhibition is carried out in a white cube aesthetic, but it was decided to install the selected works on shop shelves. The shop racks are adapted to the works of art in order to display them optimally and form a critique of the product on the one hand and the institution on the other.

The invited artists:

Aimé Fierens

Arthur Dufoor

Ayrton Eblé

Bjornus Van der Borght

Delphine Lejeune

Eliran Daran

Floris Van Look

Helen Anna Flanagan

Kaspar de Jong

Martijn Petrus

Naomi Gilon

Nicolas Lamas

Stijn Ter Braak

Tristan Brundler

Vincent Vandaele

Walter Watieu

Wannes Missotten

Xavier Dufait

Yasmin Van der Rauwelaert


KUNSTHAL GENT / REFUGE

Ghent is rich in emerging artists and organisations. But the spaces where they can present their work are scarce. With the new programme line Refuge, Kunsthal Gent wants to contribute to a solution. Three times a year, Kunsthal Gent hands out the Oud Huis (the second exhibition space) to up-and-coming organisations in the Ghent visual arts. With complete carte blanche and a budget to make ambitious plans possible. This gives Ghent a new platform for experimentation and discovery.

In de Ruimte presents:
H Y P E R M A R K E T

MDC KH IDR 023 LR

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