#127: Remain practical: what happens to the work in an endless exhibition?|#51: How do we invite the true unknown?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#34: We pay artists.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#20: Are exhibitions the most suitable form for the art that we present?|#105: Kunsthal Gent is local in scale, but globally connected.|#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.|#119: Be a space of production.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#98: The success of it will not lie in the result but in the process.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#4: Pay what you can.|#82: Clean and sterile looks professional, but really boring.|#28: Make Contracts.|#59: Always protect the floor when painting (or pouring concrete)|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#29: We make the program for the artist that we exhibit.|#44: No name tags at dinner.|#124: Do less, do it better.|#61: No all male install teams.|#62: Don’t be a dick. Full dishwasher: empty it.|#68: Once in a while we need to get out of utopia and get something done.|#127: Remain practical: what happens to the work in an endless exhibition?|#51: How do we invite the true unknown?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#34: We pay artists.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#20: Are exhibitions the most suitable form for the art that we present?|#105: Kunsthal Gent is local in scale, but globally connected.|#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.|#119: Be a space of production.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#98: The success of it will not lie in the result but in the process.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#4: Pay what you can.|#82: Clean and sterile looks professional, but really boring.|#28: Make Contracts.|#59: Always protect the floor when painting (or pouring concrete)|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#29: We make the program for the artist that we exhibit.|#44: No name tags at dinner.|#124: Do less, do it better.|#61: No all male install teams.|#62: Don’t be a dick. Full dishwasher: empty it.|#68: Once in a while we need to get out of utopia and get something done.|
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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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