#32: Be pan-gender polyphonic.|#10: Don’t be obsessed with numbers.|#2: Bring something new to the city of Ghent.|#59: Always protect the floor when painting (or pouring concrete)|#112: Spaces today don’t need to be curated, but occupied.|#39: Be the early stepping stone in an artist’s career|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#89: Build-in impurity within the organisation.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#137: Use the publication as programming space|#16: Kunsthal Gent will always be a construction site.|#68: Once in a while we need to get out of utopia and get something done.|#90: The best systems have a failure or ‘a hole’ in them…|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#53: Immaterial support for artists is important.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#26: More artists, less borders.|#35: The artist fee should be good.|#6: Demand that visitors are active.|#81: Things come alive when there is friction.|#117: Consider design, organisational structures and architecture as programme.|#17: An exhibition is never finished.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#32: Be pan-gender polyphonic.|#10: Don’t be obsessed with numbers.|#2: Bring something new to the city of Ghent.|#59: Always protect the floor when painting (or pouring concrete)|#112: Spaces today don’t need to be curated, but occupied.|#39: Be the early stepping stone in an artist’s career|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#89: Build-in impurity within the organisation.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#137: Use the publication as programming space|#16: Kunsthal Gent will always be a construction site.|#68: Once in a while we need to get out of utopia and get something done.|#90: The best systems have a failure or ‘a hole’ in them…|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#53: Immaterial support for artists is important.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#26: More artists, less borders.|#35: The artist fee should be good.|#6: Demand that visitors are active.|#81: Things come alive when there is friction.|#117: Consider design, organisational structures and architecture as programme.|#17: An exhibition is never finished.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|
