#14: Can you also remain a toddler institution?|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#92: We’re a learning organisation.|#89: Build-in impurity within the organisation.|#26: More artists, less borders.|#107: Build a community / scene.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#53: Immaterial support for artists is important.|#36: We support production separately.|#6: Demand that visitors are active.|#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|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#81: Things come alive when there is friction.|#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.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#32: Be pan-gender polyphonic.|#16: Kunsthal Gent will always be a construction site.|#98: The success of it will not lie in the result but in the process.|#65: No excuses: Thursday morning, team meeting.|#28: Make Contracts.|#62: Be kind. Full dishwasher: empty it.|#124: Do less, do it better.|#15: Kunsthal Gent aims to be an extension of public space.|#54: What about disabled artists?|#14: Can you also remain a toddler institution?|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#92: We’re a learning organisation.|#89: Build-in impurity within the organisation.|#26: More artists, less borders.|#107: Build a community / scene.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#53: Immaterial support for artists is important.|#36: We support production separately.|#6: Demand that visitors are active.|#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|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#81: Things come alive when there is friction.|#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.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#32: Be pan-gender polyphonic.|#16: Kunsthal Gent will always be a construction site.|#98: The success of it will not lie in the result but in the process.|#65: No excuses: Thursday morning, team meeting.|#28: Make Contracts.|#62: Be kind. Full dishwasher: empty it.|#124: Do less, do it better.|#15: Kunsthal Gent aims to be an extension of public space.|#54: What about disabled artists?|
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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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EXHIBITION VIEWS
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