#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#40: Follow the artist|#68: Once in a while we need to get out of utopia and get something done.|#91: Embrace doubt.|#10: Don’t be obsessed with numbers.|#51: How do we invite the true unknown?|#124: Do less, do it better.|#53: Immaterial support for artists is important.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#14: Can you also remain a toddler institution?|#29: We make the program for the artist that we exhibit.|#19: Have fun at the exhibition.|#127: Remain practical: what happens to the work in an endless exhibition?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#64: Arrange a distribution of forces.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#132: Things will always look weird when you’re the first doing it.|#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|#55: Keep basic human needs on the forefront.|#34: We pay artists.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#65: No excuses: Thursday morning, team meeting.|#81: Things come alive when there is friction.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#74: Last one out turns of the lights.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#40: Follow the artist|#68: Once in a while we need to get out of utopia and get something done.|#91: Embrace doubt.|#10: Don’t be obsessed with numbers.|#51: How do we invite the true unknown?|#124: Do less, do it better.|#53: Immaterial support for artists is important.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#14: Can you also remain a toddler institution?|#29: We make the program for the artist that we exhibit.|#19: Have fun at the exhibition.|#127: Remain practical: what happens to the work in an endless exhibition?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#64: Arrange a distribution of forces.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#132: Things will always look weird when you’re the first doing it.|#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|#55: Keep basic human needs on the forefront.|#34: We pay artists.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#65: No excuses: Thursday morning, team meeting.|#81: Things come alive when there is friction.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#74: Last one out turns of the lights.|
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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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