#132: Things will always look weird when you’re the first doing it.|#137: Use the publication as programming space|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#16: Kunsthal Gent will always be a construction site.|#59: Always protect the floor when painting (or pouring concrete)|#90: The best systems have a failure or ‘a hole’ in them…|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#127: Remain practical: what happens to the work in an endless exhibition?|#29: We make the program for the artist that we exhibit.|#105: Kunsthal Gent is local in scale, but globally connected.|#62: Be kind. Full dishwasher: empty 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.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#4: Pay what you can.|#82: Clean and sterile looks professional, but really boring.|#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|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#36: We support production separately.|#92: We’re a learning organisation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#61: No all male install teams.|#112: Spaces today don’t need to be curated, but occupied.|#124: Do less, do it better.|#35: The artist fee should be good.|#32: Be pan-gender polyphonic.|#132: Things will always look weird when you’re the first doing it.|#137: Use the publication as programming space|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#16: Kunsthal Gent will always be a construction site.|#59: Always protect the floor when painting (or pouring concrete)|#90: The best systems have a failure or ‘a hole’ in them…|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#127: Remain practical: what happens to the work in an endless exhibition?|#29: We make the program for the artist that we exhibit.|#105: Kunsthal Gent is local in scale, but globally connected.|#62: Be kind. Full dishwasher: empty 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.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#4: Pay what you can.|#82: Clean and sterile looks professional, but really boring.|#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|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#36: We support production separately.|#92: We’re a learning organisation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#61: No all male install teams.|#112: Spaces today don’t need to be curated, but occupied.|#124: Do less, do it better.|#35: The artist fee should be good.|#32: Be pan-gender polyphonic.|
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Opening: 18.03.2022 – 20:00

18.03—08.05.2022

Exhibition

Luke Routledge:
Nature Dream Machine

Nature Dream Machine brings together sculptures from a number of Luke Routledge’s recent exhibitions, stitched together alongside new works to present the next chapter of what he calls his living, collage territory. Through this constructed world framework, Routledge’s practice explores the fabric of a fictional multiverse and the fantastical beings that inhabit it.

The title Nature Dream Machine is used to describe the autonomous conceptual device that is now central to Routledge’s artistic practice. The word Nature reflects upon the growth of this ever evolving speculative habitat and the presentation of its territories. Dream Machine is appropriated from the name given to the device created by Beat Generation artists Brion Gysin and William S. Burroughs, which generates hallucinogenic visual stimuli to those that encounter it. Brought together the words Nature Dream Machine give a name to the filter of Routledge’s working process.

Through the assembling of this otherverse and its multicolored inhabitants, Routledge presents an untethered reality. A realm of dismantled and reassembled bodies; a place of nonsensical narrative fragmentation, seen through a lens of kaleidoscopic allegory.

Luke Routledge (b.1988) studied BA Fine Art at Loughborough University UK. He works across a range of media including sculpture, painting, animatronics and animation. These various media are employed to detail a fictional landscape and its inhabitants in an ever expanding world building project.

Luke Routledge:
Nature Dream Machine

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EXHIBITION VIEWS
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