#124: Do less, do it better.|#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.|#127: Remain practical: what happens to the work in an endless exhibition?|#82: Clean and sterile looks professional, but really boring.|#36: We support production separately.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#21: Live with the exhibition, spend time with it.|#111: Do it together.|#68: Once in a while we need to get out of utopia and get something done.|#64: Arrange a distribution of forces.|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#30: Don’t work with artists who are assholes.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#10: Don’t be obsessed with numbers.|#92: We’re a learning organisation.|#16: Kunsthal Gent will always be a construction site.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#119: Be a space of production.|#17: An exhibition is never finished.|#44: No name tags at dinner.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#51: How do we invite the true unknown?|#61: No all male install teams.|#124: Do less, do it better.|#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.|#127: Remain practical: what happens to the work in an endless exhibition?|#82: Clean and sterile looks professional, but really boring.|#36: We support production separately.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#21: Live with the exhibition, spend time with it.|#111: Do it together.|#68: Once in a while we need to get out of utopia and get something done.|#64: Arrange a distribution of forces.|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#30: Don’t work with artists who are assholes.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#10: Don’t be obsessed with numbers.|#92: We’re a learning organisation.|#16: Kunsthal Gent will always be a construction site.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#119: Be a space of production.|#17: An exhibition is never finished.|#44: No name tags at dinner.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#51: How do we invite the true unknown?|#61: No all male install teams.|
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Opening: 30.09.2022 – 20:00

30.09—18.12.2022

Exhibition

Pei-Hsuan Wang:
Ghost Eat Mud

Years ago, Pei-Hsuan Wang's mother made the crossing from Taiwan to the United States. Only later would Pei-Hsuan follow her, travelling on to Europe after her studies. At a young age, Wang quickly collided with the insecurities brought by the differences between 'the East' and 'the West'. Drawing on her traumas, memories, family history and aspirations, Wang's work explores the vulnerability, contradictions and beauty associated with the identity development of an Asian woman in diaspora.

The artist's 12-year-old niece Iris is a biracial girl with Taiwanese-American roots and a rich imagination. She inspired Wang's oeuvre, which depicts racial and cultural intersections using primal images from myths and nature. The animals in her work depict guardians and portals. They shape inner experiences and evoke narratives that fuel both our instincts and our imaginations.

In the exhibition Ghost Eat Mud, Pei-Hsuan Wang uses sculpture, installation, illustration, textile and sound to introduce characters that span three generations. Next to her niece (and nephew) we now also find deliberate links to herself and her mother that stem from some dog-eared chapters of her life.

Bio

Pei-Hsuan Wang has exhibited work at the Taipei Fine Arts Museum, Hong-Gah Museum, Taipei, and the National Gallery of Indonesia, among others. Recent solo exhibitions include I've Left My Body to Occupy Others at Good Weather, Chicago (2020), For Iris at Gallery 456, New York (2020), and You Are My Sunshine at Taipei Contemporary Art Center (2019). She is currently working and living in Ghent as a resident at the HISK Higher Institute for Fine Arts.


Pei-Hsuan Wang:
Ghost Eat Mud

PLACEHOLDER SEP3

EXHIBITION VIEWS
Portret Pei Hsuan Wang Hania Odivius Abassi credit