#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#61: No all male install teams.|#62: Don’t be a dick. Full dishwasher: empty it.|#92: We’re a learning organisation.|#112: Spaces today don’t need to be curated, but occupied.|#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.|#64: Arrange a distribution of forces.|#90: The best systems have a failure or ‘a hole’ in them…|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#81: Things come alive when there is friction.|#4: Pay what you can.|#117: Consider design, organisational structures and architecture as programme.|#35: The artist fee should be good.|#94: No objections? Just do it.|#29: We make the program for the artist that we exhibit.|#84: The White Cube is a lie.|#30: Don’t work with artists who are assholes.|#59: Always protect the floor when painting (or pouring concrete)|#2: Bring something new to the city of Ghent.|#53: Immaterial support for artists is important.|#28: Make Contracts.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#20: Are exhibitions the most suitable form for the art that we present?|#82: Clean and sterile looks professional, but really boring.|#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.|#15: Kunsthal Gent aims to be an extension of public space.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#44: No name tags at dinner.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#107: Build a community / scene.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#55: Keep basic human needs on the forefront.|#32: Be pan-gender polyphonic.|#10: Don’t be obsessed with numbers.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#39: Be the early stepping stone in an artist’s career|#19: Have fun at the exhibition.|#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|#16: Kunsthal Gent will always be a construction site.|#89: Build-in impurity within the organisation.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#36: We support production separately.|#127: Remain practical: what happens to the work in an endless exhibition?|#132: Things will always look weird when you’re the first doing it.|#91: Embrace doubt.|#119: Be a space of production.|#99: Evolve according to changing needs.|#124: Do less, do it better.|#111: Do it together.|#37: Operate with radical transparency.|#68: Once in a while we need to get out of utopia and get something done.|#34: We pay artists.|#26: More artists, less borders.|#14: Can you also remain a toddler institution?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#51: How do we invite the true unknown?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#40: Follow the artist|#98: The success of it will not lie in the result but in the process.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#54: What about disabled artists?|#137: Use the publication as programming space|#17: An exhibition is never finished.|#21: Live with the exhibition, spend time with it.|#74: Last one out turns of the lights.|#105: Kunsthal Gent is local in scale, but globally connected.|#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.|#6: Demand that visitors are active.|#56: Take a lunch break.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#61: No all male install teams.|#62: Don’t be a dick. Full dishwasher: empty it.|#92: We’re a learning organisation.|#112: Spaces today don’t need to be curated, but occupied.|#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.|#64: Arrange a distribution of forces.|#90: The best systems have a failure or ‘a hole’ in them…|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#81: Things come alive when there is friction.|#4: Pay what you can.|#117: Consider design, organisational structures and architecture as programme.|#35: The artist fee should be good.|#94: No objections? Just do it.|#29: We make the program for the artist that we exhibit.|#84: The White Cube is a lie.|#30: Don’t work with artists who are assholes.|#59: Always protect the floor when painting (or pouring concrete)|#2: Bring something new to the city of Ghent.|#53: Immaterial support for artists is important.|#28: Make Contracts.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#20: Are exhibitions the most suitable form for the art that we present?|#82: Clean and sterile looks professional, but really boring.|#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.|#15: Kunsthal Gent aims to be an extension of public space.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#44: No name tags at dinner.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#107: Build a community / scene.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#55: Keep basic human needs on the forefront.|#32: Be pan-gender polyphonic.|#10: Don’t be obsessed with numbers.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#39: Be the early stepping stone in an artist’s career|#19: Have fun at the exhibition.|#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|#16: Kunsthal Gent will always be a construction site.|#89: Build-in impurity within the organisation.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#36: We support production separately.|#127: Remain practical: what happens to the work in an endless exhibition?|#132: Things will always look weird when you’re the first doing it.|#91: Embrace doubt.|#119: Be a space of production.|#99: Evolve according to changing needs.|#124: Do less, do it better.|#111: Do it together.|#37: Operate with radical transparency.|#68: Once in a while we need to get out of utopia and get something done.|#34: We pay artists.|#26: More artists, less borders.|#14: Can you also remain a toddler institution?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#51: How do we invite the true unknown?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#40: Follow the artist|#98: The success of it will not lie in the result but in the process.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#54: What about disabled artists?|#137: Use the publication as programming space|#17: An exhibition is never finished.|#21: Live with the exhibition, spend time with it.|#74: Last one out turns of the lights.|#105: Kunsthal Gent is local in scale, but globally connected.|#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.|#6: Demand that visitors are active.|#56: Take a lunch break.|
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Opening: 04.07.2020 – 11:00

04.07—30.08.20

Tentoonstelling

Sanam Khatibi:
Cruelest of the Seas

Sanam Khatibi
Cruelest of the seas
04.07 - 30.08.2020 (NB: nieuwe einddatum)

Met deze tijdelijke tentoonstelling van Sanam Khatibi opent Kunsthal Gent haar nieuwe projectruimte, KHG#3. In en rond dit paviljoen, dat zich bevindt bovenop de cinema en te bereiken is via een loopbrug, presenteert Sanam Khatibi een aantal schilderijen en composities met voorwerpen die door de kunstenaar zijn verzameld.


Sanam Khatibi in Kunsthal Gent
[Tekst: Nikolaas Demoen]

De stillevens van Sanam Khatibi zijn nauwkeurig geschilderd. Met het fijnste penseel brengt ze in olieverf licht en schaduw aan op verschillende miniatuurvormen. De schilderijen hebben geen opvallende compositie. Alle voorwerpen doemen lukraak op vanuit de gouden of zwarte achtergrond en lijken meerstemmig te zingen in de trant van Orlando di Lasso, Johannes Ockeghem en andere meesters van de polyfonie.

Sanam Khatibi is een medium.
Ze schildert wat haar in haar oor wordt gefluisterd. In een toestand tussen waken en slapen verschijnen beelden aan haar van absurd kleine vazen, schedels, schelpen, koralen en bloemen en andere stukken die we kennen uit de canon van het klassieke stilleven.
Soms, midden in de nacht, vallen deze stukken zelfs uit haar lichaamsopeningen en vormen dan onvoorspelbare constellaties op haar natte hoofdkussen en laken.
De zeer gedetailleerde voorwerpen komen uit een gouden eeuw (niet te verwarren met de Hollandse jaren 1600) die nog moet komen. Een eeuw van zelfkastijding, kosmologie, mensenoffers, vrouwelijkheid, prestige en koppensnellers.

Een eeuw waarin alle ons omringende vormen op mysterieuze wijze gaan krimpen. Deze science fiction wereld zal de menselijke voetafdruk verkleinen. De wereld zal verkleinen tot de schaal van een postkaart met een afbeelding van een geschilderd stilleven van Sanam Khatibi.

Abrikozen worden kleiner dan erwtjes,
slangen worden kleiner dan elastiekjes,
fruitschalen worden kleiner dan vingerhoedjes,
schedels worden kleiner dan dobbelstenen,
kikkers worden kleiner dan spinnen,
Delfts blauwe vazen worden kleiner dan een legoblokje,
koralen worden kleiner dan haarvaatjes,
blaadjes worden kleiner dan vingernagels,
apen worden kleiner dan sprinkhanen
bloemen worden kleiner dan onzelieveheersbeestjes

...

Biografie + meer info



Met de steun van:

Sanam Khatibi:
Cruelest of the Seas

MDC KH Sanam Khatibi 010 HR

TENTOONSTELLINGSZICHTEN
MDC KH Sanam Khatibi 005 HR
MDC KH Sanam Khatibi 001 HR
MDC KH Sanam Khatibi 003 HR
MDC KH Sanam Khatibi 004 HR
MDC KH Sanam Khatibi 006 HR
MDC KH Sanam Khatibi 007 HR
MDC KH Sanam Khatibi 008 HR
MDC KH Sanam Khatibi 009 HR
MDC KH Sanam Khatibi 010 HR
MDC KH Sanam Khatibi 011 HR
MDC KH Sanam Khatibi 013 LR
MDC KH Sanam Khatibi 012 LR