#111: Do it together.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#127: Remain practical: what happens to the work in an endless exhibition?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#59: Always protect the floor when painting (or pouring concrete)|#15: Kunsthal Gent aims to be an extension of public space.|#55: Keep basic human needs on the forefront.|#34: We pay artists.|#82: Clean and sterile looks professional, but really boring.|#64: Arrange a distribution of forces.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#32: Be pan-gender polyphonic.|#28: Make Contracts.|#56: Take a lunch break.|#91: Embrace doubt.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#94: No objections? Just do it.|#105: Kunsthal Gent is local in scale, but globally connected.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#10: Don’t be obsessed with numbers.|#20: Are exhibitions the most suitable form for the art that we present?|#92: We’re a learning organisation.|#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.|#4: Pay what you can.|#89: Build-in impurity within the organisation.|#111: Do it together.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#127: Remain practical: what happens to the work in an endless exhibition?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#59: Always protect the floor when painting (or pouring concrete)|#15: Kunsthal Gent aims to be an extension of public space.|#55: Keep basic human needs on the forefront.|#34: We pay artists.|#82: Clean and sterile looks professional, but really boring.|#64: Arrange a distribution of forces.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#32: Be pan-gender polyphonic.|#28: Make Contracts.|#56: Take a lunch break.|#91: Embrace doubt.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#94: No objections? Just do it.|#105: Kunsthal Gent is local in scale, but globally connected.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#10: Don’t be obsessed with numbers.|#20: Are exhibitions the most suitable form for the art that we present?|#92: We’re a learning organisation.|#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.|#4: Pay what you can.|#89: Build-in impurity within the organisation.|
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Opening: 28.05.2021 – 20:00

28.05—∞

Exhibition

EVA FABREGAS:
SKIN-LIKE

SKIN-LIKE

The work of Eva Fàbregas investigates how our bodies and our desires are determined by the politics of industrial design. Fascinated by synthetic materials and their production process, she pushes the boundaries of sculpture by encouraging the possibilities of direct tactile involvement, affectivity and somatic experimentation between people and objects. In her work, sexual drives and affection, freed from the biological constraints of the body, are allowed to flow in all directions, blurring the boundaries between organic and inorganic matter. Starting from the prosthetic nature of design, architecture and technology, her work explores the eroticism of utilitarian objects and the mass production of desire. In addition to the formal and architectural qualities of her work, which are also reflected in the strong drawings she makes for her installations, the works are also utilitarian objects and almost become furniture.

Especially for the Endless Exhibition, Fabregas created a completely new series of objects. The materiality and the longing for touch that is expressed in Eva Fàbregas' colourful and monumental work form a great contrast with the strictly male and religious origins of the building of Kunsthal Gent. A contrast and tension that takes on a new dimension since the current corona crisis.

Eva Fàbregas (1988) was born in Barcelona and lives and works in London.Her work has been shown in various exhibitions in major galleries and museums, including DISPLAY Berlin, Laure Genillard gallery London, Concentrocentro Madrid and Kunstverein München.

Made possible with the support of Arts & Culture fund by the embassy of Spain

EVA FABREGAS:
SKIN-LIKE

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