#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#16: Kunsthal Gent will always be a construction site.|#37: Operate with radical transparency.|#29: We make the program for the artist that we exhibit.|#36: We support production separately.|#84: The White Cube is a lie.|#98: The success of it will not lie in the result but in the process.|#30: Don’t work with artists who are assholes.|#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.|#56: Take a lunch break.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#21: Live with the exhibition, spend time with it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#51: How do we invite the true unknown?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#26: More artists, less borders.|#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.|#28: Make Contracts.|#39: Be the early stepping stone in an artist’s career|#64: Arrange a distribution of forces.|#61: No all male install teams.|#44: No name tags at dinner.|#10: Don’t be obsessed with numbers.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#16: Kunsthal Gent will always be a construction site.|#37: Operate with radical transparency.|#29: We make the program for the artist that we exhibit.|#36: We support production separately.|#84: The White Cube is a lie.|#98: The success of it will not lie in the result but in the process.|#30: Don’t work with artists who are assholes.|#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.|#56: Take a lunch break.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#21: Live with the exhibition, spend time with it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#51: How do we invite the true unknown?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#26: More artists, less borders.|#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.|#28: Make Contracts.|#39: Be the early stepping stone in an artist’s career|#64: Arrange a distribution of forces.|#61: No all male install teams.|#44: No name tags at dinner.|#10: Don’t be obsessed with numbers.|
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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