#54: What about disabled artists?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#4: Pay what you can.|#34: We pay artists.|#37: Operate with radical transparency.|#61: No all male install teams.|#117: Consider design, organisational structures and architecture as programme.|#10: Don’t be obsessed with numbers.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#111: Do it together.|#28: Make Contracts.|#35: The artist fee should be good.|#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|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#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.|#65: No excuses: Thursday morning, team meeting.|#44: No name tags at dinner.|#32: Be pan-gender polyphonic.|#21: Live with the exhibition, spend time with it.|#20: Are exhibitions the most suitable form for the art that we present?|#39: Be the early stepping stone in an artist’s career|#132: Things will always look weird when you’re the first doing it.|#127: Remain practical: what happens to the work in an endless exhibition?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#54: What about disabled artists?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#4: Pay what you can.|#34: We pay artists.|#37: Operate with radical transparency.|#61: No all male install teams.|#117: Consider design, organisational structures and architecture as programme.|#10: Don’t be obsessed with numbers.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#111: Do it together.|#28: Make Contracts.|#35: The artist fee should be good.|#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|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#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.|#65: No excuses: Thursday morning, team meeting.|#44: No name tags at dinner.|#32: Be pan-gender polyphonic.|#21: Live with the exhibition, spend time with it.|#20: Are exhibitions the most suitable form for the art that we present?|#39: Be the early stepping stone in an artist’s career|#132: Things will always look weird when you’re the first doing it.|#127: Remain practical: what happens to the work in an endless exhibition?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|
Deze website maakt gebruik van cookies om uw gebruikservaring te verbeteren. Meer informatie

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

KH placeholder exp17