#29: We make the program for the artist that we exhibit.|#107: Build a community / scene.|#92: We’re a learning organisation.|#117: Consider design, organisational structures and architecture as programme.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#91: Embrace doubt.|#90: The best systems have a failure or ‘a hole’ in them…|#74: Last one out turns of the lights.|#105: Kunsthal Gent is local in scale, but globally connected.|#30: Don’t work with artists who are assholes.|#19: Have fun at the exhibition.|#59: Always protect the floor when painting (or pouring concrete)|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#16: Kunsthal Gent will always be a construction site.|#40: Follow the artist|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#15: Kunsthal Gent aims to be an extension of public space.|#51: How do we invite the true unknown?|#54: What about disabled artists?|#127: Remain practical: what happens to the work in an endless exhibition?|#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.|#64: Arrange a distribution of forces.|#17: An exhibition is never finished.|#81: Things come alive when there is friction.|#112: Spaces today don’t need to be curated, but occupied.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#21: Live with the exhibition, spend time with it.|#35: The artist fee should be good.|#84: The White Cube is a lie.|#39: Be the early stepping stone in an artist’s career|#56: Take a lunch break.|#2: Bring something new to the city of Ghent.|#68: Once in a while we need to get out of utopia and get something done.|#137: Use the publication as programming space|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#53: Immaterial support for artists is important.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#4: Pay what you can.|#32: Be pan-gender polyphonic.|#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|#111: Do it together.|#44: No name tags at dinner.|#62: Don’t be a dick. Full dishwasher: empty it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#61: No all male install teams.|#55: Keep basic human needs on the forefront.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#65: No excuses: Thursday morning, team meeting.|#14: Can you also remain a toddler institution?|#98: The success of it will not lie in the result but in the process.|#132: Things will always look weird when you’re the first doing it.|#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.|#6: Demand that visitors are active.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#89: Build-in impurity within the organisation.|#20: Are exhibitions the most suitable form for the art that we present?|#10: Don’t be obsessed with numbers.|#37: Operate with radical transparency.|#36: We support production separately.|#99: Evolve according to changing needs.|#34: We pay artists.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#124: Do less, do it better.|#26: More artists, less borders.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#82: Clean and sterile looks professional, but really boring.|#28: Make Contracts.|#94: No objections? Just do it.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#29: We make the program for the artist that we exhibit.|#107: Build a community / scene.|#92: We’re a learning organisation.|#117: Consider design, organisational structures and architecture as programme.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#91: Embrace doubt.|#90: The best systems have a failure or ‘a hole’ in them…|#74: Last one out turns of the lights.|#105: Kunsthal Gent is local in scale, but globally connected.|#30: Don’t work with artists who are assholes.|#19: Have fun at the exhibition.|#59: Always protect the floor when painting (or pouring concrete)|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#16: Kunsthal Gent will always be a construction site.|#40: Follow the artist|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#15: Kunsthal Gent aims to be an extension of public space.|#51: How do we invite the true unknown?|#54: What about disabled artists?|#127: Remain practical: what happens to the work in an endless exhibition?|#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.|#64: Arrange a distribution of forces.|#17: An exhibition is never finished.|#81: Things come alive when there is friction.|#112: Spaces today don’t need to be curated, but occupied.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#21: Live with the exhibition, spend time with it.|#35: The artist fee should be good.|#84: The White Cube is a lie.|#39: Be the early stepping stone in an artist’s career|#56: Take a lunch break.|#2: Bring something new to the city of Ghent.|#68: Once in a while we need to get out of utopia and get something done.|#137: Use the publication as programming space|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#53: Immaterial support for artists is important.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#4: Pay what you can.|#32: Be pan-gender polyphonic.|#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|#111: Do it together.|#44: No name tags at dinner.|#62: Don’t be a dick. Full dishwasher: empty it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#61: No all male install teams.|#55: Keep basic human needs on the forefront.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#65: No excuses: Thursday morning, team meeting.|#14: Can you also remain a toddler institution?|#98: The success of it will not lie in the result but in the process.|#132: Things will always look weird when you’re the first doing it.|#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.|#6: Demand that visitors are active.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#89: Build-in impurity within the organisation.|#20: Are exhibitions the most suitable form for the art that we present?|#10: Don’t be obsessed with numbers.|#37: Operate with radical transparency.|#36: We support production separately.|#99: Evolve according to changing needs.|#34: We pay artists.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#124: Do less, do it better.|#26: More artists, less borders.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#82: Clean and sterile looks professional, but really boring.|#28: Make Contracts.|#94: No objections? Just do it.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|
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Opening: 25.09.2020 – 20:00

25.09—29.11.20

Exhibition

Ritsart Gobyn:
Memories of Things to be Done

Ritsart Gobyn - Memories of things to be done
25 September - 29 November 2020
Sat & Sun 11:00 - 18:00

Temporary exhibition Pavilion KHG#03
Opening weekend: 25 - 27 september
Symposium & book presentation: Friday 27 November

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At first sight, Ritsart Gobyn's paintings appear to be a random collection of traces of a creative process. Paint splashes, smudges, wood remnants, pieces of tape or shreds of paper cover unprimed pieces of linen. All around there are pieces of wood that function as a kind of frame. It gives the work the status of a painting and suggests that it is a finished product. However, the perception tilts when it turns out that the tape or the paper shreds are painted trompe l'oeils. Ritsart Gobyn uses the trompe l'oeil as an image strategy to make the viewer aware of the creation process through the illusion of the result. In this way, the trompe l'oeil becomes a searchlight in the artistic process itself, instead of a matter of deception of sight and effect, and questions the 'status' of the painting as an image and as an object.

In this exhibition Ritsart Gobyn places his paintings in a spatial installation: the illusion in the works themselves is extended to the space in which they are presented.

Memories of things to be done is the second solo exhibition (after Sanam Khatibi’s Cruelest of the Seas) in and around the new pavilion KHG#3 on top of the cinema, accessible via a walkway across the hall church. Simultanousely, a new exhibition by Martin Belou (FR) opens in the hall church.

Symposium and book presentation

As part of Gobyn's doctoral research 'From deception to insight', on the limits and possibilities of the trompe l'oeil as a critical image strategy (LUCA School of Arts), a symposium will be held at Kunsthal Ghent on Friday 27 November. The symposium focuses on works of art and artistic practices that stage their own creative process. Subsequently, in the evening Gobyn's new book will be presented, made in collaboration with and published by Posture Editions.

Ritsart Gobyn:
Memories of Things to be Done

MDC KH R Gobyn 002 LR

GERELATEERDE EVENEMENTEN

TENTOONSTELLINGSZICHTEN
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