#107: Build a community / scene.|#34: We pay artists.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#53: Immaterial support for artists is important.|#29: We make the program for the artist that we exhibit.|#94: No objections? Just do it.|#16: Kunsthal Gent will always be a construction site.|#30: Don’t work with artists who are assholes.|#65: No excuses: Thursday morning, team meeting.|#124: Do less, do it better.|#111: Do it together.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#40: Follow the artist|#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|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#54: What about disabled artists?|#92: We’re a learning organisation.|#20: Are exhibitions the most suitable form for the art that we present?|#19: Have fun at the exhibition.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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.|#84: The White Cube is a lie.|#32: Be pan-gender polyphonic.|#107: Build a community / scene.|#34: We pay artists.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#53: Immaterial support for artists is important.|#29: We make the program for the artist that we exhibit.|#94: No objections? Just do it.|#16: Kunsthal Gent will always be a construction site.|#30: Don’t work with artists who are assholes.|#65: No excuses: Thursday morning, team meeting.|#124: Do less, do it better.|#111: Do it together.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#40: Follow the artist|#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|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#54: What about disabled artists?|#92: We’re a learning organisation.|#20: Are exhibitions the most suitable form for the art that we present?|#19: Have fun at the exhibition.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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.|#84: The White Cube is a lie.|#32: Be pan-gender polyphonic.|
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Opening: 25.09.2020 – 20:00

25.09.2020—03.01.2021

Exhibition

Ritsart Gobyn:
Memories of Things to be Done

Ritsart Gobyn - Memories of things to be done
25 September 2020 - 3 January 2021 (extended)
Sat & Sun 11:00 - 18:00

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

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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 (cancelled)

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.

This new book is now available at Kunsthal Gent.

Ritsart Gobyn:
Memories of Things to be Done

MDC KH R Gobyn 002 LR

RELATED EVENTS

EXHIBITION VIEWS
MDC KH R Gobyn 001 LR
MDC KH R Gobyn 002 LR
MDC KH R Gobyn 005 LR
MDC KH R Gobyn 006 LR
MDC KH R Gobyn 003 LR
MDC KH R Gobyn 004 LR
MDC KH R Gobyn 010 LR
MDC KH R Gobyn 013 LR
MDC KH R Gobyn 012 LR
MDC KH R Gobyn 011 LR
MDC KH R Gobyn 014 LR
MDC KH R Gobyn 009 LR
MDC KH R Gobyn 008 LR
MDC KH R Gobyn 007 LR