#68: Once in a while we need to get out of utopia and get something done.|#53: Immaterial support for artists is important.|#37: Operate with radical transparency.|#51: How do we invite the true unknown?|#117: Consider design, organisational structures and architecture as programme.|#10: Don’t be obsessed with numbers.|#82: Clean and sterile looks professional, but really boring.|#111: Do it together.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#2: Bring something new to the city of Ghent.|#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.|#35: The artist fee should be good.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#4: Pay what you can.|#137: Use the publication as programming space|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#36: We support production separately.|#59: Always protect the floor when painting (or pouring concrete)|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#6: Demand that visitors are active.|#55: Keep basic human needs on the forefront.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#68: Once in a while we need to get out of utopia and get something done.|#53: Immaterial support for artists is important.|#37: Operate with radical transparency.|#51: How do we invite the true unknown?|#117: Consider design, organisational structures and architecture as programme.|#10: Don’t be obsessed with numbers.|#82: Clean and sterile looks professional, but really boring.|#111: Do it together.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#2: Bring something new to the city of Ghent.|#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.|#35: The artist fee should be good.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#4: Pay what you can.|#137: Use the publication as programming space|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#36: We support production separately.|#59: Always protect the floor when painting (or pouring concrete)|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#6: Demand that visitors are active.|#55: Keep basic human needs on the forefront.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|
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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