#21: Live with the exhibition, spend time with it.|#4: Pay what you can.|#132: Things will always look weird when you’re the first doing it.|#117: Consider design, organisational structures and architecture as programme.|#89: Build-in impurity within the organisation.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#65: No excuses: Thursday morning, team meeting.|#124: Do less, do it better.|#94: No objections? Just do it.|#91: Embrace doubt.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#119: Be a space of production.|#64: Arrange a distribution of forces.|#137: Use the publication as programming space|#36: We support production separately.|#30: Don’t work with artists who are assholes.|#81: Things come alive when there is friction.|#111: Do it together.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#28: Make Contracts.|#74: Last one out turns of the lights.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#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.|#21: Live with the exhibition, spend time with it.|#4: Pay what you can.|#132: Things will always look weird when you’re the first doing it.|#117: Consider design, organisational structures and architecture as programme.|#89: Build-in impurity within the organisation.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#65: No excuses: Thursday morning, team meeting.|#124: Do less, do it better.|#94: No objections? Just do it.|#91: Embrace doubt.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#119: Be a space of production.|#64: Arrange a distribution of forces.|#137: Use the publication as programming space|#36: We support production separately.|#30: Don’t work with artists who are assholes.|#81: Things come alive when there is friction.|#111: Do it together.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#28: Make Contracts.|#74: Last one out turns of the lights.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#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.|
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Opening: 25.05.2019 – 23:00

25.05—23.06.2019

Exhibition

Harbinger I, First Signs

Designed by Kask’s Curatorial Studies, HARBINGER is a programme of lectures, films and an exhibition investigating common grounds between arts and sciences. HARBINGER I: FIRST SIGNS opens this sequence of events with a lineup of international speakers elaborating on themes such as the encounter between arts and sciences, the complex relations between data, debt and speculation and the connections tying matter and consciousness together. For four weeks, always on weekends (from 25 May to 16 June), Kunsthal Gent will host presentations and debates followed by curated screenings. In direct dialogue with the EPS-HEP conference – one of the major physics symposia in the world taking place in Gent this summer – the programme aims to be its philosophical and artistic counterpart. With Paolo Danese’s Discoteca Clandestina, the opening party promises to take dancers from the third to the fifth dimension of existence through music. From 5 to 17 July, it will be followed by HARBINGER II: SUBTLE COLLISIONS, a group exhibition to be held at UGent’s Botanical Gardens, which will depart from the common practices of artists and scientists who conceive forms of visualization as systems and devices to grasp very different realities around us.

In the night from Saturday 25 to Sunday 26 May, from 00:01am:
Opening with Discoteca Clandestina

31 May, at 8pm
Sci-art: framing arts and sciences
with:
Isabel de Sena, Berlin-based independent curator. Specialized in Aesthetics & Philosophy of Science;
Marjan Doom, director of the forthcoming Ghent University Museum, Ugent.


1 and 2 June, from 2pm to 10pm
curated screenings

7 June, at 8pm
Going short: prediction as debt & data tracing maps to the future
with: Liam Gillick, New York-based artist, screening a slideshow with new reflections;
James Beacham, post-doctoral r esearcher at CERN with the ATLAS group (Duke University) and filmmaker

8 and 9 June, from 2pm to 10pm
curated screenings

14 June, at 8pm
Beyond matter: consciousness on the horizon
with:
Johan Grimonprez, visual artist, post-doctoral researcher (KASK) and lecturer at the School of Visual Arts (SVA), New York; Michael Tytgat, research team leader in the Experimental Particle Physics group at Ghent University in collaboration with numerous international experiments – TBC.


15 and 16 June, from 2pm to 10pm
curated screenings

Harbinger I, First Signs

Harbinger 20190531 200854 2

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Harbinger 20190531 205235