#81: Things come alive when there is friction.|#59: Always protect the floor when painting (or pouring concrete)|#61: No all male install teams.|#10: Don’t be obsessed with numbers.|#51: How do we invite the true unknown?|#68: Once in a while we need to get out of utopia and get something done.|#82: Clean and sterile looks professional, but really boring.|#111: Do it together.|#30: Don’t work with artists who are assholes.|#56: Take a lunch break.|#62: Be kind. Full dishwasher: empty it.|#26: More artists, less borders.|#39: Be the early stepping stone in an artist’s career|#44: No name tags at dinner.|#36: We support production separately.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#127: Remain practical: what happens to the work in an endless exhibition?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#64: Arrange a distribution of forces.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#84: The White Cube is a lie.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#53: Immaterial support for artists is important.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#81: Things come alive when there is friction.|#59: Always protect the floor when painting (or pouring concrete)|#61: No all male install teams.|#10: Don’t be obsessed with numbers.|#51: How do we invite the true unknown?|#68: Once in a while we need to get out of utopia and get something done.|#82: Clean and sterile looks professional, but really boring.|#111: Do it together.|#30: Don’t work with artists who are assholes.|#56: Take a lunch break.|#62: Be kind. Full dishwasher: empty it.|#26: More artists, less borders.|#39: Be the early stepping stone in an artist’s career|#44: No name tags at dinner.|#36: We support production separately.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#127: Remain practical: what happens to the work in an endless exhibition?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#64: Arrange a distribution of forces.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#84: The White Cube is a lie.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#53: Immaterial support for artists is important.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|
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Elke Van Kerckvoorde

Elke Van Kerckvoorde (Gent 1992) studeerde aan Luca School of Arts te Gent (Master Beeldende Kunst 2014).

Binnen het ontwikkelingsprogramma van Kunsthal Gent werkt ze aan een project op de grens van beeldende kunst, grafisch ontwerp en ambacht, in samenwerking met glas in lood-atelier Mestdagh en met verschillende kunstenaars en ontwerpers. Albert Mestdagh, oprichter van het glasatelier, leerde het vak in het Patershol, om de hoek van het voormalige klooster waar Kunsthal Gent gevestigd is. In 1947 startte hij zijn eigen atelier, dat verschillende generaties verder sinds kort gevestigd is in Merelbeke onder leiding van kleindochter Katrien Mestdagh.

Van Kerckvoorde, aanvankelijk schilder, gebruikt in haar werk uiteenlopende grafische technieken. Ze duwt het grafische ambacht steeds verder weg van haar oorspronkelijke definitie en maakt zo de grens tussen beeldende kunst en ambacht diffuus.

Werkperiode ontwikkelingsprogramma: oktober t/m december 2019
Q&A met Elke van Kerckvoorde: vrijdag 25 oktober, 20:00

ELKE van Kerckvoorde 2019 cropped

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