#117: Consider design, organisational structures and architecture as programme.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#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.|#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.|#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.|#10: Don’t be obsessed with numbers.|#54: What about disabled artists?|#94: No objections? Just do it.|#64: Arrange a distribution of forces.|#112: Spaces today don’t need to be curated, but occupied.|#55: Keep basic human needs on the forefront.|#44: No name tags at dinner.|#99: Evolve according to changing needs.|#37: Operate with radical transparency.|#39: Be the early stepping stone in an artist’s career|#127: Remain practical: what happens to the work in an endless exhibition?|#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.|#111: Do it together.|#84: The White Cube is a lie.|#124: Do less, do it better.|#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|#36: We support production separately.|#34: We pay artists.|#61: No all male install teams.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#92: We’re a learning organisation.|#65: No excuses: Thursday morning, team meeting.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#119: Be a space of production.|#17: An exhibition is never finished.|#68: Once in a while we need to get out of utopia and get something done.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#35: The artist fee should be good.|#30: Don’t work with artists who are assholes.|#15: Kunsthal Gent aims to be an extension of public space.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#132: Things will always look weird when you’re the first doing it.|#28: Make Contracts.|#14: Can you also remain a toddler institution?|#32: Be pan-gender polyphonic.|#91: Embrace doubt.|#4: Pay what you can.|#40: Follow the artist|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#29: We make the program for the artist that we exhibit.|#137: Use the publication as programming space|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#20: Are exhibitions the most suitable form for the art that we present?|#6: Demand that visitors are active.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#56: Take a lunch break.|#98: The success of it will not lie in the result but in the process.|#16: Kunsthal Gent will always be a construction site.|#19: Have fun at the exhibition.|#53: Immaterial support for artists is important.|#107: Build a community / scene.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#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.|#90: The best systems have a failure or ‘a hole’ in them…|#81: Things come alive when there is friction.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#105: Kunsthal Gent is local in scale, but globally connected.|#59: Always protect the floor when painting (or pouring concrete)|#21: Live with the exhibition, spend time with it.|#51: How do we invite the true unknown?|#2: Bring something new to the city of Ghent.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#82: Clean and sterile looks professional, but really boring.|#117: Consider design, organisational structures and architecture as programme.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#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.|#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.|#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.|#10: Don’t be obsessed with numbers.|#54: What about disabled artists?|#94: No objections? Just do it.|#64: Arrange a distribution of forces.|#112: Spaces today don’t need to be curated, but occupied.|#55: Keep basic human needs on the forefront.|#44: No name tags at dinner.|#99: Evolve according to changing needs.|#37: Operate with radical transparency.|#39: Be the early stepping stone in an artist’s career|#127: Remain practical: what happens to the work in an endless exhibition?|#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.|#111: Do it together.|#84: The White Cube is a lie.|#124: Do less, do it better.|#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|#36: We support production separately.|#34: We pay artists.|#61: No all male install teams.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#92: We’re a learning organisation.|#65: No excuses: Thursday morning, team meeting.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#119: Be a space of production.|#17: An exhibition is never finished.|#68: Once in a while we need to get out of utopia and get something done.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#35: The artist fee should be good.|#30: Don’t work with artists who are assholes.|#15: Kunsthal Gent aims to be an extension of public space.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#132: Things will always look weird when you’re the first doing it.|#28: Make Contracts.|#14: Can you also remain a toddler institution?|#32: Be pan-gender polyphonic.|#91: Embrace doubt.|#4: Pay what you can.|#40: Follow the artist|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#29: We make the program for the artist that we exhibit.|#137: Use the publication as programming space|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#20: Are exhibitions the most suitable form for the art that we present?|#6: Demand that visitors are active.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#56: Take a lunch break.|#98: The success of it will not lie in the result but in the process.|#16: Kunsthal Gent will always be a construction site.|#19: Have fun at the exhibition.|#53: Immaterial support for artists is important.|#107: Build a community / scene.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#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.|#90: The best systems have a failure or ‘a hole’ in them…|#81: Things come alive when there is friction.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#105: Kunsthal Gent is local in scale, but globally connected.|#59: Always protect the floor when painting (or pouring concrete)|#21: Live with the exhibition, spend time with it.|#51: How do we invite the true unknown?|#2: Bring something new to the city of Ghent.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#82: Clean and sterile looks professional, but really boring.|
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Opening: 25.09.2020 – 20:00

25.09.2020—03.01.2021

Tentoonstelling

Ritsart Gobyn:
Memories of Things to be Done

Ritsart Gobyn - Memories of things to be done
25 september 2020 — 3 januari 2021 (verlengd)
za & zo 11:00 — 18:00


Tijdelijke tentoonstelling Paviljoen KHG#03
Openingsweekend: 25 - 27 september
Symposium & boekpresentatie: vrijdag 27 november (genannuleerd)

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Op het eerste zicht lijken de schilderijen van Ritsart Gobyn een willekeurige verzameling van sporen van een creatieproces te zijn. Verfspatten, vegen, houtresten, stukjes tape of papiersnippers bedekken ongeprepareerde stukken linnen. Rondom zijn stukken hout bevestigd die functioneren als een soort kader. Het verleent het de status van schilderij en suggereert dat het een afgewerkt product is. De perceptie kantelt echter als blijkt dat de tape of de papiersnippers geschilderde trompe l’oeils zijn. Ritsart Gobyn hanteert de trompe l’oeil als een beeldstrategie om de kijker, via de illusie van het resultaat, bewust te maken van het creatieproces. Op die manier wordt trompe l’oeil in plaats van een kwestie van gezichtsbedrog en effectbejag een zoeklicht in het artistieke proces zelf, en bevraagt het de ‘status’ van het schilderij als beeld en als object.

In deze tentoonstelling plaatst Ritsart Gobyn zijn schilderijen in een ruimtelijke totaalinstallatie: de illusie in de werken zelf wordt doorgetrokken naar de ruimte waarin ze worden gepresenteerd.

Memories of things to be done is de tweede solotentoonstelling in en rond het nieuwe paviljoen KHG#3 bovenop de cinema, toegankelijk via een loopbrug dwars door de zaalkerk. Tegelijkertijd opent in de zaalkerk een nieuwe tentoonstelling van Martin Belou (Marseille).

Symposium en boekpresentatie [geannuleerd]

In het kader van Gobyn's doctoraatsonderzoek 'Van bedrog naar inzicht', over de grenzen en mogelijkheden van de trompe l'oeil als kritische beeldstrategie (LUCA School of Arts), vindt op vrijdag 27 november een symposium plaats in Kunsthal Gent. Het symposium focust op kunstwerken en kunstpraktijken die hun eigen creatieproces ensceneren. Aansluitend wordt in de avond Gobyn's nieuwe boek voorgesteld, gemaakt in samenwerking met en uitgegeven door Posture Editions.

Dit nieuwe boek is nu verkrijgbaar in Kunsthal Gent.

Ritsart Gobyn:
Memories of Things to be Done

MDC KH R Gobyn 002 LR

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