#84: The White Cube is a lie.|#127: Remain practical: what happens to the work in an endless exhibition?|#20: Are exhibitions the most suitable form for the art that we present?|#30: Don’t work with artists who are assholes.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#112: Spaces today don’t need to be curated, but occupied.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#61: No all male install teams.|#29: We make the program for the artist that we exhibit.|#124: Do less, do it better.|#65: No excuses: Thursday morning, team meeting.|#6: Demand that visitors are active.|#59: Always protect the floor when painting (or pouring concrete)|#51: How do we invite the true unknown?|#56: Take a lunch break.|#16: Kunsthal Gent will always be a construction site.|#39: Be the early stepping stone in an artist’s career|#119: Be a space of production.|#34: We pay artists.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#107: Build a community / scene.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#82: Clean and sterile looks professional, but really boring.|#4: Pay what you can.|#55: Keep basic human needs on the forefront.|#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.|#90: The best systems have a failure or ‘a hole’ in them…|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#15: Kunsthal Gent aims to be an extension of public space.|#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.|#105: Kunsthal Gent is local in scale, but globally connected.|#26: More artists, less borders.|#21: Live with the exhibition, spend time with it.|#10: Don’t be obsessed with numbers.|#117: Consider design, organisational structures and architecture as programme.|#28: Make Contracts.|#81: Things come alive when there is friction.|#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.|#54: What about disabled artists?|#68: Once in a while we need to get out of utopia and get something done.|#19: Have fun at the exhibition.|#92: We’re a learning organisation.|#17: An exhibition is never finished.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#40: Follow the artist|#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|#2: Bring something new to the city of Ghent.|#99: Evolve according to changing needs.|#64: Arrange a distribution of forces.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#89: Build-in impurity within the organisation.|#44: No name tags at dinner.|#91: Embrace doubt.|#94: No objections? Just do it.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#37: Operate with radical transparency.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#62: Don’t be a dick. Full dishwasher: empty it.|#53: Immaterial support for artists is important.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#137: Use the publication as programming space|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#132: Things will always look weird when you’re the first doing it.|#36: We support production separately.|#32: Be pan-gender polyphonic.|#35: The artist fee should be good.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#14: Can you also remain a toddler institution?|#111: Do it together.|#98: The success of it will not lie in the result but in the process.|#84: The White Cube is a lie.|#127: Remain practical: what happens to the work in an endless exhibition?|#20: Are exhibitions the most suitable form for the art that we present?|#30: Don’t work with artists who are assholes.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#112: Spaces today don’t need to be curated, but occupied.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#61: No all male install teams.|#29: We make the program for the artist that we exhibit.|#124: Do less, do it better.|#65: No excuses: Thursday morning, team meeting.|#6: Demand that visitors are active.|#59: Always protect the floor when painting (or pouring concrete)|#51: How do we invite the true unknown?|#56: Take a lunch break.|#16: Kunsthal Gent will always be a construction site.|#39: Be the early stepping stone in an artist’s career|#119: Be a space of production.|#34: We pay artists.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#107: Build a community / scene.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#82: Clean and sterile looks professional, but really boring.|#4: Pay what you can.|#55: Keep basic human needs on the forefront.|#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.|#90: The best systems have a failure or ‘a hole’ in them…|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#15: Kunsthal Gent aims to be an extension of public space.|#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.|#105: Kunsthal Gent is local in scale, but globally connected.|#26: More artists, less borders.|#21: Live with the exhibition, spend time with it.|#10: Don’t be obsessed with numbers.|#117: Consider design, organisational structures and architecture as programme.|#28: Make Contracts.|#81: Things come alive when there is friction.|#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.|#54: What about disabled artists?|#68: Once in a while we need to get out of utopia and get something done.|#19: Have fun at the exhibition.|#92: We’re a learning organisation.|#17: An exhibition is never finished.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#40: Follow the artist|#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|#2: Bring something new to the city of Ghent.|#99: Evolve according to changing needs.|#64: Arrange a distribution of forces.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#89: Build-in impurity within the organisation.|#44: No name tags at dinner.|#91: Embrace doubt.|#94: No objections? Just do it.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#37: Operate with radical transparency.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#62: Don’t be a dick. Full dishwasher: empty it.|#53: Immaterial support for artists is important.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#137: Use the publication as programming space|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#132: Things will always look weird when you’re the first doing it.|#36: We support production separately.|#32: Be pan-gender polyphonic.|#35: The artist fee should be good.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#14: Can you also remain a toddler institution?|#111: Do it together.|#98: The success of it will not lie in the result but in the process.|
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Opening: 24.01.2020 – 20:00

24.01—∞

Exhibition

Jesse Jones:
SYLLABUS

JESSE JONES - SYLLABUS
24.01.2020 - ∞


“This giant exaggerated female arm is a kind of spell that I'm trying to cast over the institution in terms of the possibility of the female body in the institutional space.”

“What does it mean for women to be under the reach of feminism, what does it mean to occupy an institution?”


Syllabus is a new artwork by the Irish artist Jesse Jones. A monumental, 12m high semi-transparent curtain is being moved through the gallery, creating a space-filling moving image of a floating, giant arm. It is the left arm of the well-known feminist and activist scholar Silvia Federici, embracing not only the institution, but also creating a new protective space in Kunsthal Gent.

As the contract between the artist and Kunsthal Gent reads: “Syllabus is simultaneously the space created by the curtain, the materials thereof, and all of the relational and temporal qualities of the artwork.” One of the conditions in the contract is that “... Kunsthal Gent shall host an activist reading group once every month for the duration of the loan. The syllabus for the reading group shall be set by Silvia Federici and Jesse Jones, and shall consist of selections from Federici’s works and others. Kunsthal Gent shall offer these texts for sale in the gallery in a single book bookshop.”

'Other women's flowers', the Ghent-based book club that highlights women's voices, will be the first activist reading group to be hosted in the monumental artwork. Also Engagement, an artist-led movement tackling sexual harassment, sexism and power abuse in the Belgian arts field will gather there. We gladly welcome new initiatives.

The work will remain visible as long as the conditions of the contract are respected. The contract is on view in the gallery, copies are available upon request.

The single book bookshop can be found at the desk of Kunsthal Gent. The first book on the list is a recent book by Silvia Federici: 'Witches, Witch-Hunting, and Women' (2018).

Jesse Jones is a Dublin-based artist and teaches visual arts at the TU Dublin School of Creative Arts. Her practice crosses the media of film, performance and installation. She often works in collaborative structures and investigates how historical examples of shared culture can play a role in our current social and political experiences. Recent exhibitions and projects include the important new work ‘In the Shadow of the State’, commissioned by Artangel (UK) and Create with financial support from Ireland 2016, and created in collaboration with artist Sarah Browne. Jesse Jones represented Ireland at the Venice Biennale in 2017. Until March 2020 the Guggenheim in Bilboa (ES) presents her solo show 'Tremble Tremble / Temblad Temblad'. SYLLABUS builds on the earlier work NO MORE FUN AND GAMES - Feminist Parasite Institution, realized in the Hugh Lane gallery in Dublin in 2016.

Silvia Federici is a feminist, writer, teacher, and activist. Her research and political organizing accompany a long list of publications on philosophy and feminist theory, women’s history, education, culture, international politics, and the worldwide struggle against capitalist globalisation and for a feminist reconstruction of the commons.

Jesse Jones:
SYLLABUS

MDC KH jessejones 003 HR

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