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

Opening: 06.06.2020 – 14:00

06—28.06.20

Tentoonstelling

Curatorial Studies at KASK presents:
Make the rich pay for COVID -19

Studenten van Curatorial Studies at KASK presenteren:
Make the rich pay for COVID-19* - Colectivo Los Ingrávidos (Mexico)

Screeningprogramma parallel aan de online tentoonstelling From Scratch to Scratch

6 - 28 juni 2020
Zaterdag + zondag 11:00 - 18:00 uur
@Kunsthal Gent Cinema

Parallel aan de online tentoonstelling From Scratch to Scratch - www.fromscratchtoscratch.be vindt in de cinemazaal van Kunsthal Gent een screeningprogramma plaats rond het Mexicaanse kunstenaarscollectief Colectivo Los Ingrávidos.

Terwijl de werken in de online tentoonstelling het schrijven van kunstgeschiedenis in vraag stellen, ontmantelen deze films in het parallelle programma het gevestigde audiovisuele discours door te experimenteren met found footage en documentaire praktijken.

Het programma richt zich op vier verschillende films, die beelden van de precolumbiaanse mythologie en landschappen tonen, verweven met archiefbeelden van arbeidersbewegingen, burgerlijk verzet en vrouwenstrijd in het patriarchale Mexico. De overlapping van verschillende media, technieken en stemmen in het werk van Los Ingravidos suggereert de invocatie van een collectief Latijns-Amerikaans geheugen, zwevend over neoliberale samenlevingen die zich vestigen op kolonialisme en overheersing. Los Ingrávidos betekent "de gewichtlozen"; ze tillen alledaagse beelden op tot films van verzet.

Soldadera / Percusión Visual
(2013 / 35mm / color-b&w / sound / 1S / 5' 50)
The Sun Quartet Part 1: Sunstone
(2017 / 16mm / color / silent / 1S / 8' 24)
Coyolxauhqui
(2017 / 16mm / color / sound / 1S / 9' 46)
Altares / Shrines
(2019 / 16mm / color / sound / 1S / 3' 28)

Gepresenteerd gedurende vier weekends, in loop in de cinema van Kunsthal Gent.

*De zin "Make the rich pay for COVID-19" komt uit de video 'Class struggle', een van de meest instinctieve werken van het collectief, geproduceerd en uitgebracht in april 2020 als reactie op de coronaviruspandemie.




---
From Scratch to Scratch zou oorspronkelijk plaatsvinden in het Oud Huis van Kunsthal Gent en in de Zwarte Zaal van het KASK. Door de huidige omstandigheden is de tentoonstelling aangepast naar een online versie; alleen deze parallelle vertoning vindt plaats in de cinema van Kunsthal Gent. Het screening programma is samengesteld door Sofia Lemos Marques.

BEZOEK OOK >> www.fromscratchtoscratch.be, de online tentoonstelling waar dit programma deel van uitmaakt en parallel aan loopt.

Meer informatie over de online tentoonstelling www.fromscratchtoscratch.be:


Met het recent gerestaureerde Gentse altaarstuk (Jan van Eyck, De Aanbidding van het Lam Gods,1432) als uitgangspunt, brengt deze online tentoonstelling hedendaagse kunstenaars samen die de sociale, culturele en artistieke orde zoals gedefinieerd door het westerse concept van het meesterwerk in vraag stellen. "Krassen" impliceert het verwijderen van iets, en daarmee het onthullen van iets of het achterlaten van sporen. From Scratch to Scratch ontrafelt nieuwe betekenislagen en verweeft alternatieve verhalen in de kunstgeschiedenis.

De geselecteerde kunstwerken vormen drie groepen, drie cirkels die achtereenvolgens worden geactiveerd:


28 mei 2020 - Re-Setting the Space
met Lito Kattou, Gaëlle Leenhardt & Damien Le Dévédec, Robin Lopvet & Sam Racheboeuf, en Elena Subach.

4 juni 2020 - Hiding and Revealing
met Milena Desse, Zuzanna Seweryna Dolega, Paul Jacques Yves Guilbert en Nikolaj Karabinovitsj.

11 juni 2020 - Taking Action
met Jonathas de Andrade, Katya Ev, Esmeralda Kosmatopoulos en Zinaïda Tchelidze.

Deze parallelle onderzoekslijnen hebben betrekking op de stappen van de restauratie: analyse, documentatie en respons. Elke groep voegt meerdere interpretatieniveaus toe op een brede dwarsdoorsnede van thema's, waaronder cultureel erfgoed, identiteitsconstructie, machtsverhoudingen en het landschapsideaal.

In het kader van het culturele programma OMG Van Eyck stellen studenten van KASK Curatorial Studies hier de relatie tussen erfgoed en toerisme, en de daaruit voortvloeiende economische impact, in vraag. Kunnen we gevestigde modellen heroverwegen en nieuwe vormen van artistieke representatie en culturele productie opnieuw uitvinden? En hoe?

Samengesteld door:
Camille Bladt, Patricia Couvet, Sofia Lemos Marques, Koi Persyn, Zuzanna Rachowska, Yanis Stefanos, Ella Strowel en Vincent van Laken.

Grafisch ontwerp: Timon Bloemen en Leroy Meyer.
Webdesign: Siebe Le Duc.
Partners: Curatorial Studies at KASK, KASK & CONSERVATORIUM School of Arts Gent, HOGENT, Kunsthal Gent, Visit Gent


Curatorial Studies at KASK presents:
Make the rich pay for COVID -19

MDC KH brug 009 HR

TENTOONSTELLINGSZICHTEN
MDC KH brug 008 LR