#137: Use the publication as programming space|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#91: Embrace doubt.|#127: Remain practical: what happens to the work in an endless 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 /…|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#74: Last one out turns of the lights.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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|#59: Always protect the floor when painting (or pouring concrete)|#119: Be a space of production.|#4: Pay what you can.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#92: We’re a learning organisation.|#40: Follow the artist|#56: Take a lunch break.|#16: Kunsthal Gent will always be a construction site.|#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.|#19: Have fun at the exhibition.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#112: Spaces today don’t need to be curated, but occupied.|#29: We make the program for the artist that we exhibit.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#55: Keep basic human needs on the forefront.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#99: Evolve according to changing needs.|#65: No excuses: Thursday morning, team meeting.|#98: The success of it will not lie in the result but in the process.|#34: We pay artists.|#62: Don’t be a dick. Full dishwasher: empty it.|#44: No name tags at dinner.|#54: What about disabled artists?|#117: Consider design, organisational structures and architecture as programme.|#20: Are exhibitions the most suitable form for the art that we present?|#82: Clean and sterile looks professional, but really boring.|#15: Kunsthal Gent aims to be an extension of public space.|#105: Kunsthal Gent is local in scale, but globally connected.|#68: Once in a while we need to get out of utopia and get something done.|#81: Things come alive when there is friction.|#30: Don’t work with artists who are assholes.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#39: Be the early stepping stone in an artist’s career|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#124: Do less, do it better.|#17: An exhibition is never finished.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#28: Make Contracts.|#35: The artist fee should be good.|#21: Live with the exhibition, spend time with it.|#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.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#111: Do it together.|#107: Build a community / scene.|#51: How do we invite the true unknown?|#64: Arrange a distribution of forces.|#61: No all male install teams.|#6: Demand that visitors are active.|#90: The best systems have a failure or ‘a hole’ in them…|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#84: The White Cube is a lie.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#14: Can you also remain a toddler institution?|#10: Don’t be obsessed with numbers.|#94: No objections? Just do it.|#89: Build-in impurity within the organisation.|#132: Things will always look weird when you’re the first doing it.|#37: Operate with radical transparency.|#53: Immaterial support for artists is important.|#26: More artists, less borders.|#2: Bring something new to the city of Ghent.|#36: We support production separately.|#32: Be pan-gender polyphonic.|#137: Use the publication as programming space|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#91: Embrace doubt.|#127: Remain practical: what happens to the work in an endless 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 /…|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#74: Last one out turns of the lights.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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|#59: Always protect the floor when painting (or pouring concrete)|#119: Be a space of production.|#4: Pay what you can.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#92: We’re a learning organisation.|#40: Follow the artist|#56: Take a lunch break.|#16: Kunsthal Gent will always be a construction site.|#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.|#19: Have fun at the exhibition.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#112: Spaces today don’t need to be curated, but occupied.|#29: We make the program for the artist that we exhibit.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#55: Keep basic human needs on the forefront.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#99: Evolve according to changing needs.|#65: No excuses: Thursday morning, team meeting.|#98: The success of it will not lie in the result but in the process.|#34: We pay artists.|#62: Don’t be a dick. Full dishwasher: empty it.|#44: No name tags at dinner.|#54: What about disabled artists?|#117: Consider design, organisational structures and architecture as programme.|#20: Are exhibitions the most suitable form for the art that we present?|#82: Clean and sterile looks professional, but really boring.|#15: Kunsthal Gent aims to be an extension of public space.|#105: Kunsthal Gent is local in scale, but globally connected.|#68: Once in a while we need to get out of utopia and get something done.|#81: Things come alive when there is friction.|#30: Don’t work with artists who are assholes.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#39: Be the early stepping stone in an artist’s career|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#124: Do less, do it better.|#17: An exhibition is never finished.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#28: Make Contracts.|#35: The artist fee should be good.|#21: Live with the exhibition, spend time with it.|#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.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#111: Do it together.|#107: Build a community / scene.|#51: How do we invite the true unknown?|#64: Arrange a distribution of forces.|#61: No all male install teams.|#6: Demand that visitors are active.|#90: The best systems have a failure or ‘a hole’ in them…|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#84: The White Cube is a lie.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#14: Can you also remain a toddler institution?|#10: Don’t be obsessed with numbers.|#94: No objections? Just do it.|#89: Build-in impurity within the organisation.|#132: Things will always look weird when you’re the first doing it.|#37: Operate with radical transparency.|#53: Immaterial support for artists is important.|#26: More artists, less borders.|#2: Bring something new to the city of Ghent.|#36: We support production separately.|#32: Be pan-gender polyphonic.|
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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