#14: Can you also remain a toddler institution?|#10: Don’t be obsessed with numbers.|#6: Demand that visitors are active.|#53: Immaterial support for artists is important.|#61: No all male install teams.|#20: Are exhibitions the most suitable form for the art that we present?|#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.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#62: Don’t be a dick. Full dishwasher: empty it.|#132: Things will always look weird when you’re the first doing it.|#29: We make the program for the artist that we exhibit.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#54: What about disabled artists?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#65: No excuses: Thursday morning, team meeting.|#44: No name tags at dinner.|#92: We’re a learning organisation.|#34: We pay artists.|#59: Always protect the floor when painting (or pouring concrete)|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#26: More artists, less borders.|#81: Things come alive when there is friction.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#21: Live with the exhibition, spend time with it.|#36: We support production separately.|#137: Use the publication as programming space|#2: Bring something new to the city of Ghent.|#64: Arrange a distribution of forces.|#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|#30: Don’t work with artists who are assholes.|#55: Keep basic human needs on the forefront.|#124: Do less, do it better.|#94: No objections? Just do it.|#89: Build-in impurity within the organisation.|#51: How do we invite the true unknown?|#19: Have fun at the exhibition.|#37: Operate with radical transparency.|#117: Consider design, organisational structures and architecture as programme.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#91: Embrace doubt.|#4: Pay what you can.|#74: Last one out turns of the lights.|#35: The artist fee should be good.|#111: Do it together.|#32: Be pan-gender polyphonic.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#39: Be the early stepping stone in an artist’s career|#98: The success of it will not lie in the result but in the process.|#107: Build a community / scene.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#56: Take a lunch break.|#16: Kunsthal Gent will always be a construction site.|#17: An exhibition is never finished.|#82: Clean and sterile looks professional, but really boring.|#28: Make Contracts.|#90: The best systems have a failure or ‘a hole’ in them…|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#127: Remain practical: what happens to the work in an endless exhibition?|#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.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#40: Follow the artist|#112: Spaces today don’t need to be curated, but occupied.|#119: Be a space of production.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#68: Once in a while we need to get out of utopia and get something done.|#105: Kunsthal Gent is local in scale, but globally connected.|#15: Kunsthal Gent aims to be an extension of public space.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#84: The White Cube is a lie.|#99: Evolve according to changing needs.|#14: Can you also remain a toddler institution?|#10: Don’t be obsessed with numbers.|#6: Demand that visitors are active.|#53: Immaterial support for artists is important.|#61: No all male install teams.|#20: Are exhibitions the most suitable form for the art that we present?|#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.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#62: Don’t be a dick. Full dishwasher: empty it.|#132: Things will always look weird when you’re the first doing it.|#29: We make the program for the artist that we exhibit.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#54: What about disabled artists?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#65: No excuses: Thursday morning, team meeting.|#44: No name tags at dinner.|#92: We’re a learning organisation.|#34: We pay artists.|#59: Always protect the floor when painting (or pouring concrete)|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#26: More artists, less borders.|#81: Things come alive when there is friction.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#21: Live with the exhibition, spend time with it.|#36: We support production separately.|#137: Use the publication as programming space|#2: Bring something new to the city of Ghent.|#64: Arrange a distribution of forces.|#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|#30: Don’t work with artists who are assholes.|#55: Keep basic human needs on the forefront.|#124: Do less, do it better.|#94: No objections? Just do it.|#89: Build-in impurity within the organisation.|#51: How do we invite the true unknown?|#19: Have fun at the exhibition.|#37: Operate with radical transparency.|#117: Consider design, organisational structures and architecture as programme.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#91: Embrace doubt.|#4: Pay what you can.|#74: Last one out turns of the lights.|#35: The artist fee should be good.|#111: Do it together.|#32: Be pan-gender polyphonic.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#39: Be the early stepping stone in an artist’s career|#98: The success of it will not lie in the result but in the process.|#107: Build a community / scene.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#56: Take a lunch break.|#16: Kunsthal Gent will always be a construction site.|#17: An exhibition is never finished.|#82: Clean and sterile looks professional, but really boring.|#28: Make Contracts.|#90: The best systems have a failure or ‘a hole’ in them…|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#127: Remain practical: what happens to the work in an endless exhibition?|#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.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#40: Follow the artist|#112: Spaces today don’t need to be curated, but occupied.|#119: Be a space of production.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#68: Once in a while we need to get out of utopia and get something done.|#105: Kunsthal Gent is local in scale, but globally connected.|#15: Kunsthal Gent aims to be an extension of public space.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#84: The White Cube is a lie.|#99: Evolve according to changing needs.|
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Opening: 20.09.2019 – 20:00

20.09—24.11.2019

Tentoonstelling

de vylder vinck taillieu:
UNLESS EVER PEOPLE

architecten de vylder vinck taillieu
UNLESS EVER PEOPLE / CARITAS FOR FREESPACE

In Kunsthal Gent
van 20 september 2019 tot en met 24 november 2019

Tijdens het Festival van de Architectuur (21-27 september 2019) presenteert Kunsthal Gent UNLESS EVER PEOPLE / CARITAS FOR FREESPACE, een tentoonstelling van het Gentse architectenbureau de vylder vinck taillieu. De tentoonstelling is een weergave van het project CARITAS, dat het bureau realiseerde op de site van het Psychiatrisch Centrum Karus in Melle nabij Gent. Het bureau vrijwaarde het verouderde Sint-Jozefgebouw van sloop en gaf de ‘ruïne’ een mooie, nieuwe rol als therapeutische ruimte. Een eerdere versie van deze tentoonstelling won de Zilveren Leeuw voor jong en beloftevol werk op de Biennale Architettura 2018 in Venetië en is voor het eerst in België te zien.

De tentoonstelling bestaat uit een installatie met foto’s van het CARITAS project op ongeveer ware grootte. De gepresenteerde foto’s zijn van de hand van Filip Dujardin en vormen een verzameling kamers, zoals het CARITAS gebouw uit een verzameling kamers bestaat. Bij de eerste tentoonstelling in Venetië werden de wanden met eenvoudige, houten frames gemaakt. Deze houten structuur werd achteraf hergebruikt om beschadigde dennenhouten vloeren van het CARITAS gebouw te verstevigen en ze toegankelijk te houden. De betonnen blokken uit de tentoonstelling werden hergebruikt om de bakstenen muren te herstellen. In de tentoonstelling in Kunsthal Gent zijn geen houten frames maar metalen buizen gebruikt, die nadien door de architecten worden verwerkt in speeltoestellen bij het gebouw in Melle. De steenslag op de vloer wordt ook hergebruikt in Melle. De tentoonstelling draagt zo bij aan het onderhoud en het overleven van het gebouw.

Over het project CARITAS
Het project CARITAS is ontstaan als resultaat van een onderzoek naar het psychiatrisch centrum van de toekomst. Sinds de jaren vijftig en zestig zijn verschillende van de oude villa’s op het Caritas terrein gesloopt en vervangen door nieuwe gebouwen. Dat was bijna ook het geval met het Sint-Jozef gebouw midden op de campus, maar het onderzoek en de opdracht van KARUS aan de vylder vinck taillieu keerde het tij. Na gesprekken met alle gebruikers van het centrum werd het Sint-Jozef gebouw van sloop gered en naar een ontwerp van architecten de vylder vinck taillieu getransformeerd tot een activiteitenzone voor patiënten, bezoekers en medewerkers. Het moest een plek worden zonder specifieke functie, opdat de gebruikers van de campus de onbepaalde ruimte naar wens zelf zouden kunnen invullen. De monumentale ruïne werd door de architecten gestript en waar nodig gerepareerd. Daarnaast werd een aantal vloeren deels weggesneden en een reeks kassen, een boom en lantaarnpaal toegevoegd. De bestaande veranda aan de voorkant van het gebouw is aan de achterkant gespiegeld; een nieuwe plint strekt zich rondom het gebouw uit en verzacht de overgang tussen binnen en buiten. CARITAS werd gerealiseerd in een opmerkelijke samenwerking met bouwheer KARUS, die nauw betrokken was bij het proces, en met de begeleiding van BAVO, een onafhankelijk onderzoekscollectief gericht op de politieke en sociaaleconomische aspecten van kunst, architectuur en ruimtelijke planning. Participatie was de sleutel tot dit project, waarin alle betrokkenen co-creator werden.

Deze tentoonstelling is een samenwerking met Museum Dr. Guislain, dat op 24 september 2019 ‘Adieu aan het beddenhuis’ organiseert: een studiemiddag over zorg en architectuur, met een geleid bezoek aan de tentoonstelling in Kunsthal Gent.

de vylder vinck taillieu:
UNLESS EVER PEOPLE

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