#16: Kunsthal Gent will always be a construction site.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#28: Make Contracts.|#107: Build a community / scene.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#20: Are exhibitions the most suitable form for the art that we present?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#91: Embrace doubt.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#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.|#15: Kunsthal Gent aims to be an extension of public space.|#132: Things will always look weird when you’re the first doing it.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#65: No excuses: Thursday morning, team meeting.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#81: Things come alive when there is friction.|#117: Consider design, organisational structures and architecture as programme.|#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.|#51: How do we invite the true unknown?|#64: Arrange a distribution of forces.|#68: Once in a while we need to get out of utopia and get something done.|#36: We support production separately.|#62: Be kind. Full dishwasher: empty it.|#17: An exhibition is never finished.|#16: Kunsthal Gent will always be a construction site.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#28: Make Contracts.|#107: Build a community / scene.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#20: Are exhibitions the most suitable form for the art that we present?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#91: Embrace doubt.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#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.|#15: Kunsthal Gent aims to be an extension of public space.|#132: Things will always look weird when you’re the first doing it.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#65: No excuses: Thursday morning, team meeting.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#81: Things come alive when there is friction.|#117: Consider design, organisational structures and architecture as programme.|#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.|#51: How do we invite the true unknown?|#64: Arrange a distribution of forces.|#68: Once in a while we need to get out of utopia and get something done.|#36: We support production separately.|#62: Be kind. Full dishwasher: empty it.|#17: An exhibition is never finished.|
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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

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