#112: Spaces today don’t need to be curated, but occupied.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#28: Make Contracts.|#119: Be a space of production.|#84: The White Cube is a lie.|#111: Do it together.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#92: We’re a learning organisation.|#54: What about disabled artists?|#40: Follow the artist|#56: Take a lunch break.|#29: We make the program for the artist that we exhibit.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#35: The artist fee should be good.|#37: Operate with radical transparency.|#51: How do we invite the true unknown?|#21: Live with the exhibition, spend time with it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#59: Always protect the floor when painting (or pouring concrete)|#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.|#89: Build-in impurity within the organisation.|#132: Things will always look weird when you’re the first doing it.|#112: Spaces today don’t need to be curated, but occupied.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#28: Make Contracts.|#119: Be a space of production.|#84: The White Cube is a lie.|#111: Do it together.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#92: We’re a learning organisation.|#54: What about disabled artists?|#40: Follow the artist|#56: Take a lunch break.|#29: We make the program for the artist that we exhibit.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#35: The artist fee should be good.|#37: Operate with radical transparency.|#51: How do we invite the true unknown?|#21: Live with the exhibition, spend time with it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#59: Always protect the floor when painting (or pouring concrete)|#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.|#89: Build-in impurity within the organisation.|#132: Things will always look weird when you’re the first doing it.|
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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
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