#64: Arrange a distribution of forces.|#68: Once in a while we need to get out of utopia and get something done.|#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?|#99: Evolve according to changing needs.|#21: Live with the exhibition, spend time with it.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#59: Always protect the floor when painting (or pouring concrete)|#137: Use the publication as programming space|#40: Follow the artist|#81: Things come alive when there is friction.|#2: Bring something new to the city of Ghent.|#39: Be the early stepping stone in an artist’s career|#16: Kunsthal Gent will always be a construction site.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#32: Be pan-gender polyphonic.|#92: We’re a learning organisation.|#35: The artist fee should be good.|#132: Things will always look weird when you’re the first doing it.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#56: Take a lunch break.|#111: Do it together.|#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|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#64: Arrange a distribution of forces.|#68: Once in a while we need to get out of utopia and get something done.|#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?|#99: Evolve according to changing needs.|#21: Live with the exhibition, spend time with it.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#59: Always protect the floor when painting (or pouring concrete)|#137: Use the publication as programming space|#40: Follow the artist|#81: Things come alive when there is friction.|#2: Bring something new to the city of Ghent.|#39: Be the early stepping stone in an artist’s career|#16: Kunsthal Gent will always be a construction site.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#32: Be pan-gender polyphonic.|#92: We’re a learning organisation.|#35: The artist fee should be good.|#132: Things will always look weird when you’re the first doing it.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#56: Take a lunch break.|#111: Do it together.|#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|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|
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Apparatus 22 (RO/BE)

Over Apparatus 22

Apparatus 22 is een transdisciplinair kunstcollectief dat in januari 2011 is opgericht door de huidige leden Erika Olea, Maria Farcas en Dragos Olea, samen met Ioana Nemes (1979 - 2011) in Boekarest, Roemenië. Sinds 2015 werken ze vanuit Boekarest en Brussel.

Ze zien zichzelf als een collectief van dromers, onderzoekers, poëtische activisten en (gebrekkige) futurologen die geïnteresseerd zijn in het verkennen van de complexe relaties tussen economie, politiek, genderstudies, sociale bewegingen, religie en mode om de hedendaagse samenleving te begrijpen. Een belangrijk onderwerp van onderzoek en reflectie in de praktijk van Apparatus 22 is het SUPRAINFINIT universum. Dit universum is een poging om een wereld te creëren, om hoop kritisch in te kunnen zetten bij het navigeren door heden en toekomst.

In hun zeer uiteenlopende werken - installaties, performances en vormen met tekst als uitgangspunt - vermengen ze realiteit met fictie en het vertellen van verhalen, vanuit een kritische benadering die stoelt op kennis en ervaring uit design, sociologie, literatuur en economie.

Het werk van Apparatus 22 werd gepresenteerd in tentoonstellingen in La Biennale di Venezia 2013, MUMOK, Wenen (AT), BOZAR - Centre for Fine Arts, Brussel (BE), Museion, Bolzano (IT), Kunsthalle Wien (AT), Académie Royale des Beaux-Arts de Bruxelles (BE), Brukenthal Museum Contemporary Art Gallery, Sibiu (RO), Akademie Schloss Solitude, Stuttgart (DE), MNAC - museum voor hedendaagse kunst, Boekarest (RO), KunstMuseum Linz (AT), La Triennale di Milano (IT), Loft - Servais Family Collection, Brussel (BE), TRAFO Gallery, Boedapest (HU), Futura, Praag (CZ), Ujazdowski Castle - centrum voor hedendaagse kunst, Warschau (PL), Salonul de Proiecte, Boekarest (RO), Onomatopee Eindhoven (NL), TIME MACHINE BIENNIAL OF CONTEMPORY ART, D-0 ARK UNDERGROUND, Konji (BIH), Osage Foundation (Hong Kong), Progetto Diogene, Turijn (IT), Closer Art Centre, Kiev (UA), CIAP, Hasselt (BE), Barriera, Turijn (IT), Suprainfinit Gallery, Boekarest (RO), GALLLERIAPIÙ, Bologna (IT);

Performances en interventies deden ze in MAK, Wenen (AT), Steirischer Herbst, Graz (AT), Stedelijk Museum Amsterdam met De Appel CP (NL), Yarat Academy, Bakoe (AZ), Württembergischer Kunstverein Stuttgart (DE), Drodesera Festival, Dro (IT), Villa Empain, Brussel (BE), S.M.A.K. Gent, (BE), ...

Apparatus 22 werkt ook buiten de kunstruimte, met performances in de publieke ruimte, interventies in privé-vertrekken en andere hybride vormen.

Performance: The Elastic Test

Apparatus 22 neemt Kunsthal Gent over

Apparatus 22 Artist Talk

Apparatus 22: The Continuum Boadcast

MDC KH APP22 15102019 002 HR