#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.|#98: The success of it will not lie in the result but in the process.|#117: Consider design, organisational structures and architecture as programme.|#92: We’re a learning organisation.|#105: Kunsthal Gent is local in scale, but globally connected.|#40: Follow the artist|#26: More artists, less borders.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#21: Live with the exhibition, spend time with it.|#19: Have fun at the exhibition.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#119: Be a space of production.|#82: Clean and sterile looks professional, but really boring.|#4: Pay what you can.|#54: What about disabled artists?|#81: Things come alive when there is friction.|#84: The White Cube is a lie.|#61: No all male install teams.|#53: Immaterial support for artists is important.|#132: Things will always look weird when you’re the first doing it.|#34: We pay artists.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#111: Do it together.|#32: Be pan-gender polyphonic.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#91: Embrace doubt.|#51: How do we invite the true unknown?|#17: An exhibition is never finished.|#6: Demand that visitors are active.|#89: Build-in impurity within the organisation.|#2: Bring something new to the city of Ghent.|#112: Spaces today don’t need to be curated, but occupied.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#55: Keep basic human needs on the forefront.|#29: We make the program for the artist that we exhibit.|#56: Take a lunch break.|#94: No objections? Just do it.|#137: Use the publication as programming space|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#64: Arrange a distribution of forces.|#59: Always protect the floor when painting (or pouring concrete)|#14: Can you also remain a toddler institution?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#16: Kunsthal Gent will always be a construction site.|#99: Evolve according to changing needs.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#44: No name tags at dinner.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#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.|#39: Be the early stepping stone in an artist’s career|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#36: We support production separately.|#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?|#107: Build a community / scene.|#37: Operate with radical transparency.|#28: Make Contracts.|#124: Do less, do it better.|#15: Kunsthal Gent aims to be an extension of public space.|#74: Last one out turns of the lights.|#68: Once in a while we need to get out of utopia and get something done.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#62: Don’t be a dick. Full dishwasher: empty it.|#65: No excuses: Thursday morning, team meeting.|#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|#90: The best systems have a failure or ‘a hole’ in them…|#35: The artist fee should be good.|#10: Don’t be obsessed with numbers.|#30: Don’t work with artists who are assholes.|#127: Remain practical: what happens to the work in an endless exhibition?|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#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.|#98: The success of it will not lie in the result but in the process.|#117: Consider design, organisational structures and architecture as programme.|#92: We’re a learning organisation.|#105: Kunsthal Gent is local in scale, but globally connected.|#40: Follow the artist|#26: More artists, less borders.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#21: Live with the exhibition, spend time with it.|#19: Have fun at the exhibition.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#119: Be a space of production.|#82: Clean and sterile looks professional, but really boring.|#4: Pay what you can.|#54: What about disabled artists?|#81: Things come alive when there is friction.|#84: The White Cube is a lie.|#61: No all male install teams.|#53: Immaterial support for artists is important.|#132: Things will always look weird when you’re the first doing it.|#34: We pay artists.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#111: Do it together.|#32: Be pan-gender polyphonic.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#91: Embrace doubt.|#51: How do we invite the true unknown?|#17: An exhibition is never finished.|#6: Demand that visitors are active.|#89: Build-in impurity within the organisation.|#2: Bring something new to the city of Ghent.|#112: Spaces today don’t need to be curated, but occupied.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#55: Keep basic human needs on the forefront.|#29: We make the program for the artist that we exhibit.|#56: Take a lunch break.|#94: No objections? Just do it.|#137: Use the publication as programming space|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#64: Arrange a distribution of forces.|#59: Always protect the floor when painting (or pouring concrete)|#14: Can you also remain a toddler institution?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#16: Kunsthal Gent will always be a construction site.|#99: Evolve according to changing needs.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#44: No name tags at dinner.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#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.|#39: Be the early stepping stone in an artist’s career|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#36: We support production separately.|#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?|#107: Build a community / scene.|#37: Operate with radical transparency.|#28: Make Contracts.|#124: Do less, do it better.|#15: Kunsthal Gent aims to be an extension of public space.|#74: Last one out turns of the lights.|#68: Once in a while we need to get out of utopia and get something done.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#62: Don’t be a dick. Full dishwasher: empty it.|#65: No excuses: Thursday morning, team meeting.|#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|#90: The best systems have a failure or ‘a hole’ in them…|#35: The artist fee should be good.|#10: Don’t be obsessed with numbers.|#30: Don’t work with artists who are assholes.|#127: Remain practical: what happens to the work in an endless exhibition?|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|
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Opening: 25.09.2020 – 20:00

25.09—∞

Exhibition

Martin Belou:
Remuer Ciel et Terre

Martin Belou - Remuer Ciel et Terre
25.09 — ∞

For the central church of Kunsthal Gent, French artist Martin Belou is developing the project Remuer Ciel et Terre, a synaesthetic experience that hovers between sculpture and performance. On the one hand, the work makes use of the height of the space, with light organic elements and lighting, a precarious constellation suspended in the air, magical like a starry sky and inaccessible to humans. A second element in the work is heavy and solid, anchored in space. This is the terrain of mankind. With a fountain, an oven, a house, a shelter, a cellar, a chimney, benches, ... it is a place to live. Ytong blocks come together with primitive building techniques and references from basic, early architecture. These buildings are clad with wood and clay. All these elements are of practical use, but because of their scale they almost look like models. The whole functions as a blueprint for a village - and for a meeting.

With this intervention, Belou responds to the essence of the building and the original purpose of ecclesiastical architecture, which calls man to a relationship with the divine. But Belou's intervention reverses this and encourages a relationship with nature, which defines the essence of our humanity. Belou creates a place that invites the visitor to participate and actively use the work.

The traces that this exhibition leaves behind will remain functional for the remainder of the Endless Exhibition.

Martin Belou (1986) lives and works between Marseille and Brussels. Belou creates performative situations and experiences with the four elements: earth, water, air and fire. Driven by intuition and traditional savoir-faire, he combines sculptures, drawings and organic materials (mushrooms, herbs, wood, stone, metal, chalk...) in installations that often have to do with universal notions of craftsmanship, tradition and community. He integrates ephemeral processes such as smoke or decomposition into his palette of materials, slowly but surely painting a new atmosphere. His work has been shown in various project spaces, institutes and galleries in France, Belgium, Mexico, Germany, the United States.



Martin Belou:
Remuer Ciel et Terre

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