#34: We pay artists.|#119: Be a space of production.|#74: Last one out turns of the lights.|#107: Build a community / scene.|#59: Always protect the floor when painting (or pouring concrete)|#14: Can you also remain a toddler institution?|#55: Keep basic human needs on the forefront.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#64: Arrange a distribution of forces.|#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.|#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.|#65: No excuses: Thursday morning, team meeting.|#105: Kunsthal Gent is local in scale, but globally connected.|#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|#62: Be kind. Full dishwasher: empty it.|#6: Demand that visitors are active.|#124: Do less, do it better.|#20: Are exhibitions the most suitable form for the art that we present?|#91: Embrace doubt.|#29: We make the program for the artist that we exhibit.|#37: Operate with radical transparency.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#54: What about disabled artists?|#84: The White Cube is a lie.|#21: Live with the exhibition, spend time with it.|#34: We pay artists.|#119: Be a space of production.|#74: Last one out turns of the lights.|#107: Build a community / scene.|#59: Always protect the floor when painting (or pouring concrete)|#14: Can you also remain a toddler institution?|#55: Keep basic human needs on the forefront.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#64: Arrange a distribution of forces.|#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.|#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.|#65: No excuses: Thursday morning, team meeting.|#105: Kunsthal Gent is local in scale, but globally connected.|#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|#62: Be kind. Full dishwasher: empty it.|#6: Demand that visitors are active.|#124: Do less, do it better.|#20: Are exhibitions the most suitable form for the art that we present?|#91: Embrace doubt.|#29: We make the program for the artist that we exhibit.|#37: Operate with radical transparency.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#54: What about disabled artists?|#84: The White Cube is a lie.|#21: Live with the exhibition, spend time with it.|
This website uses cookies to improve your user experience. More info

Opening: 25.05.2019 – 11:00

25.05.2019—12.05.2022

Exhibition

Nina Beier:
Housebroken

Four neoclassical marble lions drenched in milk for the local stray cats to drink.

This piece is a second scenery Danish artist Nina Beier creates using marble lions in the framework of the Endless Exhibition. ‘Housebroken’ carries a wide range of possible interpretations. The original soap, purses and male hair added by the artist to the sculptures in 2019 are taken away. The lions are tipped over and scattered in the hallway. Milk is added to some of the lion’s cavities. It plays an important role in the piece and carries many symbolic connotations. It can be viewed as a symbol of sustenance, but it can also be understood as a metaphor for our economies, which are designed to milk every resource; factory farming and dairy production are among the highest sources of CO2 emissions.

Nina Beier
's first long-term show in Belgium was ‘Four Stomachs’, a four-year exhibition she had in and around Objectif Exhibitions in Antwerp, from 2012 to 2015. She is also known for ‘Men’, the group of bronze equestrian statues she grouped together in the waves of Nieuwpoort-Bad for Beaufort 2018.

For ‘Housebroken’, Beier occupies Kunsthal Gent’s internal spaces, by placing sculptures—each incorporating a massive marble guardian lion—in the hallways, toilets, and originally also the courtyard garden of the former monastery.

‘Housebroken’ is on view from Saturday 25 May 2019 for an indefinite period.
Curated by Chris Fitzpatrick.

Nina Beier
(b. 1975, Denmark) lives and works in Berlin. Beier has had one-person exhibitions at Spike Island, Bristol; CAC, Vilnius; the Kunstverein in Hamburg; Objectif Exhibitions, Antwerp; Kunsthaus Glarus, Switzerland and her work has been shown at the Walker Art Center, Minneapolis; Centre Pompidou, Paris; Tate Modern, London; CCA Wattis, San Francisco; Musée d’Art Moderne, Paris; Hamburger Bahnhof, Berlin; KW Institute for Contemporary Art, Berlin; ICA, London; Swiss Institute, New York; the Power Station, Shanghai; Nouveau Musée National de Monaco; Kunsthaus Zürich; National Gallery, Prague; Kunsthalle Wien, Vienna; Performa 15, New York, 13th Biennale de Lyon, the Baltic Triennial 13 and the 20th Biennale of Sydney.

Nina Beier:
Housebroken

Nina_beier_kunsthal_gent_michieldecleene

RELATED EVENTS

EXHIBITION VIEWS
MDC KH 15022022 045 LR
MDC KH 15022022 047 LR
MDC KH 15022022 046 LR
MDC KH 15022022 048 LR
MDC KH Nina B 019 LR
MDC_KH_Nina B_030_HR
MDC_KH_Nina B_032_HR
MDC_KH_Nina B_034_HR
MDC_KH_Nina B_028_LR
MDC KH Nina B 026 LR
MDC KH Nina B 021 LR
MDC KH Nina B 020 LR
MDC_KH_Nina B_033_HR
MDC KH Nina B 014 LR