#59: Always protect the floor when painting (or pouring concrete)|#54: What about disabled artists?|#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.|#30: Don’t work with artists who are assholes.|#34: We pay artists.|#16: Kunsthal Gent will always be a construction site.|#44: No name tags at dinner.|#61: No all male install teams.|#91: Embrace doubt.|#32: Be pan-gender polyphonic.|#2: Bring something new to the city of Ghent.|#64: Arrange a distribution of forces.|#19: Have fun at the exhibition.|#117: Consider design, organisational structures and architecture as programme.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#65: No excuses: Thursday morning, team meeting.|#124: Do less, do it better.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#51: How do we invite the true unknown?|#94: No objections? Just do it.|#10: Don’t be obsessed with numbers.|#92: We’re a learning organisation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#119: Be a space of production.|#59: Always protect the floor when painting (or pouring concrete)|#54: What about disabled artists?|#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.|#30: Don’t work with artists who are assholes.|#34: We pay artists.|#16: Kunsthal Gent will always be a construction site.|#44: No name tags at dinner.|#61: No all male install teams.|#91: Embrace doubt.|#32: Be pan-gender polyphonic.|#2: Bring something new to the city of Ghent.|#64: Arrange a distribution of forces.|#19: Have fun at the exhibition.|#117: Consider design, organisational structures and architecture as programme.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#65: No excuses: Thursday morning, team meeting.|#124: Do less, do it better.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#51: How do we invite the true unknown?|#94: No objections? Just do it.|#10: Don’t be obsessed with numbers.|#92: We’re a learning organisation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#119: Be a space of production.|
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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

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