#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#124: Do less, do it better.|#65: No excuses: Thursday morning, team meeting.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#82: Clean and sterile looks professional, but really boring.|#32: Be pan-gender polyphonic.|#132: Things will always look weird when you’re the first doing it.|#16: Kunsthal Gent will always be a construction site.|#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|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#6: Demand that visitors are active.|#92: We’re a learning organisation.|#34: We pay artists.|#117: Consider design, organisational structures and architecture as programme.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#29: We make the program for the artist that we exhibit.|#59: Always protect the floor when painting (or pouring concrete)|#61: No all male install teams.|#54: What about disabled artists?|#62: Don’t be a dick. Full dishwasher: empty it.|#105: Kunsthal Gent is local in scale, but globally connected.|#98: The success of it will not lie in the result but in the process.|#26: More artists, less borders.|#111: Do it together.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#124: Do less, do it better.|#65: No excuses: Thursday morning, team meeting.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#82: Clean and sterile looks professional, but really boring.|#32: Be pan-gender polyphonic.|#132: Things will always look weird when you’re the first doing it.|#16: Kunsthal Gent will always be a construction site.|#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|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#6: Demand that visitors are active.|#92: We’re a learning organisation.|#34: We pay artists.|#117: Consider design, organisational structures and architecture as programme.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#29: We make the program for the artist that we exhibit.|#59: Always protect the floor when painting (or pouring concrete)|#61: No all male install teams.|#54: What about disabled artists?|#62: Don’t be a dick. Full dishwasher: empty it.|#105: Kunsthal Gent is local in scale, but globally connected.|#98: The success of it will not lie in the result but in the process.|#26: More artists, less borders.|#111: Do it together.|
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Opening: 21.05.2021 – 20:00

21.05—13.06.2021

Exhibition

GODA PALEKAITE / QUINSY GARIO:
THE INSTITUTE OF THINGS TO COME

Kunsthal Gent hosts The Institute of Things to Come, an itinerant program curated by Valerio Del Baglivo, that comprises a yearly-thematic program of performances, workshops, publications and exhibitions. Each year The Institute focuses on a different theme, inviting artists who use speculative and fictional arguments to imagine alternatives and propose positions of social critique. This year's program questions the categories of alterity in opposition to current politics of sovereignty, national belonging, and heteronormative approaches in times of globally-expanded populist politics.


At Kunsthal Gent, The Institute of Things to Come presents new work by Goda Palekaitė and Quinsy Gario. Through the means of performance, storytelling and writing, both the artists weave together historical facts and personal accounts with the aim of deconstructing the grand narratives underlying hegemonic discourses on race, identity, gender and origin.

The exhibition “The strongest muscle in the human body is the tongue” by Goda Palekaitė is presented in the Old House and looks at historical and contemporary female writers and writings by mystics and saints to reflect on the power of speaking and writing in relation to the body and sexuality.

Tracing a memory pt. 2. is a new performance by artist Quinsy Gario, in which he reflects on Dutch colonization, decolonization movements in the Caribbean and contemporary concerns of recolonization. The performance is pre-recorded in Kunsthal Gent and will be on view both online and in Kunsthal Gent.

GODA PALEKAITE / QUINSY GARIO:
THE INSTITUTE OF THINGS TO COME

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