#35: The artist fee should be good.|#32: Be pan-gender polyphonic.|#81: Things come alive when there is friction.|#132: Things will always look weird when you’re the first doing it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#91: Embrace doubt.|#19: Have fun at the exhibition.|#119: Be a space of production.|#94: No objections? Just do it.|#4: Pay what you can.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#10: Don’t be obsessed with numbers.|#99: Evolve according to changing needs.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#82: Clean and sterile looks professional, but really boring.|#6: Demand that visitors are active.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#54: What about disabled artists?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#112: Spaces today don’t need to be curated, but occupied.|#55: Keep basic human needs on the forefront.|#84: The White Cube is a lie.|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#35: The artist fee should be good.|#32: Be pan-gender polyphonic.|#81: Things come alive when there is friction.|#132: Things will always look weird when you’re the first doing it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#91: Embrace doubt.|#19: Have fun at the exhibition.|#119: Be a space of production.|#94: No objections? Just do it.|#4: Pay what you can.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#10: Don’t be obsessed with numbers.|#99: Evolve according to changing needs.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#82: Clean and sterile looks professional, but really boring.|#6: Demand that visitors are active.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#54: What about disabled artists?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#112: Spaces today don’t need to be curated, but occupied.|#55: Keep basic human needs on the forefront.|#84: The White Cube is a lie.|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|
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Opening: 25.05.2019 – 11:00

25.05—∞

Exhibition

Nina Beier:
Housebroken

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. More recently, she is 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 five sculptures—each incorporating a massive marble guardian lion—in the hallways, toilets, and the courtyard garden of the former Caermersklooster.

‘Housebroken’ is on view from Saturday 25 May 2019 for an indefinite period.
With an introduction by Chris Fitzpatrick on Saturday 25 May at 2 p.m.

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.

Chris Fitzpatrick (b. 1978, US) was the director of Kunstverein München, in Munich, from 2015 to 2019. He was the director of Objectif Exhibitions, in Antwerp, from 2012 to 2015.

Nina Beier:
Housebroken

Nina_beier_kunsthal_gent_michieldecleene

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