#61: No all male install teams.|#32: Be pan-gender polyphonic.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#19: Have fun at the exhibition.|#98: The success of it will not lie in the result but in the process.|#117: Consider design, organisational structures and architecture as programme.|#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|#59: Always protect the floor when painting (or pouring concrete)|#29: We make the program for the artist that we exhibit.|#64: Arrange a distribution of forces.|#89: Build-in impurity within the organisation.|#112: Spaces today don’t need to be curated, but occupied.|#39: Be the early stepping stone in an artist’s career|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#14: Can you also remain a toddler institution?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#82: Clean and sterile looks professional, but really boring.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#20: Are exhibitions the most suitable form for the art that we present?|#127: Remain practical: what happens to the work in an endless exhibition?|#99: Evolve according to changing needs.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#68: Once in a while we need to get out of utopia and get something done.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#132: Things will always look weird when you’re the first doing it.|#61: No all male install teams.|#32: Be pan-gender polyphonic.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#19: Have fun at the exhibition.|#98: The success of it will not lie in the result but in the process.|#117: Consider design, organisational structures and architecture as programme.|#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|#59: Always protect the floor when painting (or pouring concrete)|#29: We make the program for the artist that we exhibit.|#64: Arrange a distribution of forces.|#89: Build-in impurity within the organisation.|#112: Spaces today don’t need to be curated, but occupied.|#39: Be the early stepping stone in an artist’s career|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#14: Can you also remain a toddler institution?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#82: Clean and sterile looks professional, but really boring.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#20: Are exhibitions the most suitable form for the art that we present?|#127: Remain practical: what happens to the work in an endless exhibition?|#99: Evolve according to changing needs.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#68: Once in a while we need to get out of utopia and get something done.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#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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