#62: Don’t be a dick. Full dishwasher: empty it.|#117: Consider design, organisational structures and architecture as programme.|#53: Immaterial support for artists is important.|#84: The White Cube is a lie.|#6: Demand that visitors are active.|#10: Don’t be obsessed with numbers.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#137: Use the publication as programming space|#98: The success of it will not lie in the result but in the process.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#107: Build a community / scene.|#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.|#16: Kunsthal Gent will always be a construction site.|#89: Build-in impurity within the organisation.|#64: Arrange a distribution of forces.|#36: We support production separately.|#40: Follow the artist|#4: Pay what you can.|#14: Can you also remain a toddler institution?|#132: Things will always look weird when you’re the first doing it.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#21: Live with the exhibition, spend time with it.|#59: Always protect the floor when painting (or pouring concrete)|#105: Kunsthal Gent is local in scale, but globally connected.|#61: No all male install teams.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#37: Operate with radical transparency.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#20: Are exhibitions the most suitable form for the art that we present?|#127: Remain practical: what happens to the work in an endless exhibition?|#39: Be the early stepping stone in an artist’s career|#44: No name tags at dinner.|#17: An exhibition is never finished.|#35: The artist fee should be good.|#2: Bring something new to the city of Ghent.|#56: Take a lunch break.|#99: Evolve according to changing needs.|#82: Clean and sterile looks professional, but really boring.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#112: Spaces today don’t need to be curated, but occupied.|#119: Be a space of production.|#54: What about disabled artists?|#111: Do it together.|#32: Be pan-gender polyphonic.|#30: Don’t work with artists who are assholes.|#90: The best systems have a failure or ‘a hole’ in them…|#65: No excuses: Thursday morning, team meeting.|#55: Keep basic human needs on the forefront.|#74: Last one out turns of the lights.|#94: No objections? Just do it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#91: Embrace doubt.|#68: Once in a while we need to get out of utopia and get something done.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#15: Kunsthal Gent aims to be an extension of public space.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#34: We pay artists.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#92: We’re a learning organisation.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#26: More artists, less borders.|#29: We make the program for the artist that we exhibit.|#28: Make Contracts.|#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|#81: Things come alive when there is friction.|#124: Do less, do it better.|#51: How do we invite the true unknown?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#19: Have fun at the exhibition.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#62: Don’t be a dick. Full dishwasher: empty it.|#117: Consider design, organisational structures and architecture as programme.|#53: Immaterial support for artists is important.|#84: The White Cube is a lie.|#6: Demand that visitors are active.|#10: Don’t be obsessed with numbers.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#137: Use the publication as programming space|#98: The success of it will not lie in the result but in the process.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#107: Build a community / scene.|#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.|#16: Kunsthal Gent will always be a construction site.|#89: Build-in impurity within the organisation.|#64: Arrange a distribution of forces.|#36: We support production separately.|#40: Follow the artist|#4: Pay what you can.|#14: Can you also remain a toddler institution?|#132: Things will always look weird when you’re the first doing it.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#21: Live with the exhibition, spend time with it.|#59: Always protect the floor when painting (or pouring concrete)|#105: Kunsthal Gent is local in scale, but globally connected.|#61: No all male install teams.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#37: Operate with radical transparency.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#20: Are exhibitions the most suitable form for the art that we present?|#127: Remain practical: what happens to the work in an endless exhibition?|#39: Be the early stepping stone in an artist’s career|#44: No name tags at dinner.|#17: An exhibition is never finished.|#35: The artist fee should be good.|#2: Bring something new to the city of Ghent.|#56: Take a lunch break.|#99: Evolve according to changing needs.|#82: Clean and sterile looks professional, but really boring.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#112: Spaces today don’t need to be curated, but occupied.|#119: Be a space of production.|#54: What about disabled artists?|#111: Do it together.|#32: Be pan-gender polyphonic.|#30: Don’t work with artists who are assholes.|#90: The best systems have a failure or ‘a hole’ in them…|#65: No excuses: Thursday morning, team meeting.|#55: Keep basic human needs on the forefront.|#74: Last one out turns of the lights.|#94: No objections? Just do it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#91: Embrace doubt.|#68: Once in a while we need to get out of utopia and get something done.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#15: Kunsthal Gent aims to be an extension of public space.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#34: We pay artists.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#92: We’re a learning organisation.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#26: More artists, less borders.|#29: We make the program for the artist that we exhibit.|#28: Make Contracts.|#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|#81: Things come alive when there is friction.|#124: Do less, do it better.|#51: How do we invite the true unknown?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#19: Have fun at the exhibition.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|
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Opening: 06.03.2020 – 20:00

07—22.03.2020

Tentoonstelling

manoeuvre presenteert:
Fake Calligraphy #4

LET OP! Alle activiteiten worden uitgesteld vanaf 13.03.

Manoeuvre presenteert: Fake Calligraphy #4Ada Van Hoorebeke, Maartje Fliervoet, Kato Six, manoeuvre en participantenVrijdag 6 maart, 20:00 uurOpening en introductie door de kunstenaars

Daarna te zien in Kunsthal Gent op zaterdag en zondag t/m 22 maart, 11:00-18:00 Activatie-sessies in aanwezigheid van de kunstenaars: zaterdag 7 & 14 maartFinissage: zondag 22 maart


Manoeuvre
is een kunstenplek voor ambacht, co-creatie en diversiteit in het Rabot in Gent. Sinds 2017 werkt Manoeuvre met Ada Van Hoorebeke, Maartje Fliervoet en participanten aan het project Valse Kalligrafie/Fake Calligraphy, een activeerbare sculptuur geïnspireerd door Batik Besurek, een traditioneel kalligrafisch batikpatroon uit Bengkulu (Indonesië). Eerdere activaties van de sculptuur vonden plaats in Wiels in Brussel.Batik Besurek werd oorspronkelijk ontworpen door Indonesische moslims en is afgeleid van het Arabische schrift, maar de tekens zijn niet altijd leesbaar. Met de onleesbare kalligrafische batikpatronen in het achterhoofd hebben de kunstenaars een sculptuur ontwikkeld waarin notaties van een taal zonder letterlijke betekenis centraal staan.

Fake Calligraphy is geen letterlijke voortzetting van de Batik Besurek. Vanuit hun achtergrond in verschillende taalsystemen werken deelnemers mee aan taaltekenpatronen zonder letterlijke betekenis. Hun activiteiten vormen zo een middel tot communicatie zodat Fake Calligraphy een platform voor uitwisseling van spraak, lichaamstaal, techniek en culturele kennis kan zijn. Verschillende stadia van batikproductie komen aan bod – zoals het ontwerp, het schilderen met was op textiel en het verven met natuurlijke kleurstoffen. Daarnaast wordt geschreven met galappelinkt en het plooien van metalen krullen.

Voor Fake Calligraphy #4 in Kunsthal Gent is de sculptuur aangepast aan de context van Kunsthal Gent en de geschiedenis van het caermersklooster. Naast een werkomgeving in volle actie, zijn ook eerdere cycli Fake Calligraphy in de Kunsthal te zien.

UITNODIGINGIn de weekends van 7/8 maart, 14/15 maart en 21/22 maart wordt Fake Calligraphy in Kunsthal Gent geactiveerd door manoeuvre, verschillende participanten en de kunstenaars.

U wordt vriendelijk uitgenodigd om deel te nemen in de ontwerpfases, zoals: schrijven met galappelinkt, batikken van valse kalligrafie en het plooien van een metalen ‘krullewiet’ in vals schrift.Deelnemen is gratis en duurt ongeveer 15-45 min. per deelname.Gelieve in te schrijven voor deelname op: nathalie@manoeuvre.org voor 5 maartIndien gewenst, kan bij deelname uw naam toegevoegd worden aan een lijst met deelnemers.Activatie-sessies:

Zaterdag 7 maart

O 14:00-14:45

O 15:00-15:45

O 16:00-16:45

Zaterdag 14 maart

O 14:00-14:45

O 15:00-15:45

O 16:00-16:45

manoeuvre presenteert:
Fake Calligraphy #4

MDC KH Manoeuvre 1 006 HR

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