#39: Be the early stepping stone in an artist’s career|#53: Immaterial support for artists is important.|#117: Consider design, organisational structures and architecture as programme.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#99: Evolve according to changing needs.|#64: Arrange a distribution of forces.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#68: Once in a while we need to get out of utopia and get something done.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#119: Be a space of production.|#54: What about disabled artists?|#105: Kunsthal Gent is local in scale, but globally connected.|#44: No name tags at dinner.|#17: An exhibition is never finished.|#35: The artist fee should be good.|#98: The success of it will not lie in the result but in the process.|#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.|#84: The White Cube is a lie.|#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.|#81: Things come alive when there is friction.|#62: Be kind. Full dishwasher: empty it.|#89: Build-in impurity within the organisation.|#111: Do it together.|#40: Follow the artist|#39: Be the early stepping stone in an artist’s career|#53: Immaterial support for artists is important.|#117: Consider design, organisational structures and architecture as programme.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#99: Evolve according to changing needs.|#64: Arrange a distribution of forces.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#68: Once in a while we need to get out of utopia and get something done.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#119: Be a space of production.|#54: What about disabled artists?|#105: Kunsthal Gent is local in scale, but globally connected.|#44: No name tags at dinner.|#17: An exhibition is never finished.|#35: The artist fee should be good.|#98: The success of it will not lie in the result but in the process.|#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.|#84: The White Cube is a lie.|#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.|#81: Things come alive when there is friction.|#62: Be kind. Full dishwasher: empty it.|#89: Build-in impurity within the organisation.|#111: Do it together.|#40: Follow the artist|
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Opening: 25.01.2019 – 17:00

25.01—∞

Exhibition

Steve Van den Bosch:
Unreliable Sources

Untitled
2020
Material and d
imensions to be determined
A text about an undefined future work will be written by curator Post Brothers over the course of a year. Each draft of the text will be exhibited according to its progress.

Autocorrect
2019
Neon, timer

I know but when you ask me, I don’t
2012
Audio
A digital recording of the spoken title was stretched to match the duration of the exhibition’s opening hours.

Steve Van den Bosch (1975, BE) lives and works in Brussels and Antwerp, Belgium. His work has been described as balancing between invisibility and undeniable materiality. The often reduced appearance of his work is concerned with the artwork’s periphery. Not confined to any specific medium his practice focuses on the conditions that define (a) work and the often distorted outcomes of linear reasoning.

His work has been widely shown internationally at, a.o. : The Front Room, Contemporary Art Museum St. Louis, USA; Shanghai Biennale, CN; Kunsthalle Bern, CH; FormContent, London, UK and Witte de With, Rotterdam, NL.

Steve Van den Bosch:
Unreliable Sources

Steve van Den Bosch, Untitled, 2020, material and dimensions to be determined, photo © Michiel De Cleene

RELATED EVENTS

EXHIBITION VIEWS
Steve van Den Bosch, Autocorrect, 2019, neon & timer, photo © Michiel De Cleene Steve van Den Bosch, Autocorrect, 2019, neon & timer, photo © Michiel De Cleene
Steve van Den Bosch, I know but when you ask me, I don't, 2012, audio, photo © Michiel De Cleene Steve van Den Bosch, I know but when you ask me, I don't, 2012, audio, photo © Michiel De Cleene
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