#54: What about disabled artists?|#14: Can you also remain a toddler institution?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#2: Bring something new to the city of Ghent.|#119: Be a space of production.|#55: Keep basic human needs on the forefront.|#44: No name tags at dinner.|#29: We make the program for the artist that we exhibit.|#32: Be pan-gender polyphonic.|#65: No excuses: Thursday morning, team meeting.|#90: The best systems have a failure or ‘a hole’ in them…|#98: The success of it will not lie in the result but in the process.|#19: Have fun at the 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.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#20: Are exhibitions the most suitable form for the art that we present?|#107: Build a community / scene.|#132: Things will always look weird when you’re the first doing it.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#61: No all male install teams.|#89: Build-in impurity within the organisation.|#94: No objections? Just do it.|#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.|#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|#91: Embrace doubt.|#54: What about disabled artists?|#14: Can you also remain a toddler institution?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#2: Bring something new to the city of Ghent.|#119: Be a space of production.|#55: Keep basic human needs on the forefront.|#44: No name tags at dinner.|#29: We make the program for the artist that we exhibit.|#32: Be pan-gender polyphonic.|#65: No excuses: Thursday morning, team meeting.|#90: The best systems have a failure or ‘a hole’ in them…|#98: The success of it will not lie in the result but in the process.|#19: Have fun at the 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.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#20: Are exhibitions the most suitable form for the art that we present?|#107: Build a community / scene.|#132: Things will always look weird when you’re the first doing it.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#61: No all male install teams.|#89: Build-in impurity within the organisation.|#94: No objections? Just do it.|#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.|#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|#91: Embrace doubt.|
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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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