#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#99: Evolve according to changing needs.|#137: Use the publication as programming space|#26: More artists, less borders.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#29: We make the program for the artist that we exhibit.|#54: What about disabled artists?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#2: Bring something new to the city of Ghent.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#36: We support production separately.|#4: Pay what you can.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#17: An exhibition is never finished.|#56: Take a lunch break.|#14: Can you also remain a toddler institution?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#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|#59: Always protect the floor when painting (or pouring concrete)|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#107: Build a community / scene.|#35: The artist fee should be good.|#15: Kunsthal Gent aims to be an extension of public space.|#10: Don’t be obsessed with numbers.|#94: No objections? Just do it.|#124: Do less, do it better.|#21: Live with the exhibition, spend time with it.|#68: Once in a while we need to get out of utopia and get something done.|#81: Things come alive when there is friction.|#6: Demand that visitors are active.|#34: We pay artists.|#55: Keep basic human needs on the forefront.|#119: Be a space of production.|#84: The White Cube is a lie.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#51: How do we invite the true unknown?|#74: Last one out turns of the lights.|#82: Clean and sterile looks professional, but really boring.|#111: Do it together.|#89: Build-in impurity within the organisation.|#61: No all male install teams.|#44: No name tags at dinner.|#105: Kunsthal Gent is local in scale, but globally connected.|#19: Have fun at the exhibition.|#39: Be the early stepping stone in an artist’s career|#20: Are exhibitions the most suitable form for the art that we present?|#90: The best systems have a failure or ‘a hole’ in them…|#132: Things will always look weird when you’re the first doing it.|#62: Don’t be a dick. Full dishwasher: empty it.|#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.|#30: Don’t work with artists who are assholes.|#91: Embrace doubt.|#28: Make Contracts.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#37: Operate with radical transparency.|#64: Arrange a distribution of forces.|#16: Kunsthal Gent will always be a construction site.|#117: Consider design, organisational structures and architecture as programme.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#32: Be pan-gender polyphonic.|#112: Spaces today don’t need to be curated, but occupied.|#127: Remain practical: what happens to the work in an endless exhibition?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#40: Follow the artist|#53: Immaterial support for artists is important.|#92: We’re a learning organisation.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#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.|#65: No excuses: Thursday morning, team meeting.|#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.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#99: Evolve according to changing needs.|#137: Use the publication as programming space|#26: More artists, less borders.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#29: We make the program for the artist that we exhibit.|#54: What about disabled artists?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#2: Bring something new to the city of Ghent.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#36: We support production separately.|#4: Pay what you can.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#17: An exhibition is never finished.|#56: Take a lunch break.|#14: Can you also remain a toddler institution?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#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|#59: Always protect the floor when painting (or pouring concrete)|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#107: Build a community / scene.|#35: The artist fee should be good.|#15: Kunsthal Gent aims to be an extension of public space.|#10: Don’t be obsessed with numbers.|#94: No objections? Just do it.|#124: Do less, do it better.|#21: Live with the exhibition, spend time with it.|#68: Once in a while we need to get out of utopia and get something done.|#81: Things come alive when there is friction.|#6: Demand that visitors are active.|#34: We pay artists.|#55: Keep basic human needs on the forefront.|#119: Be a space of production.|#84: The White Cube is a lie.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#51: How do we invite the true unknown?|#74: Last one out turns of the lights.|#82: Clean and sterile looks professional, but really boring.|#111: Do it together.|#89: Build-in impurity within the organisation.|#61: No all male install teams.|#44: No name tags at dinner.|#105: Kunsthal Gent is local in scale, but globally connected.|#19: Have fun at the exhibition.|#39: Be the early stepping stone in an artist’s career|#20: Are exhibitions the most suitable form for the art that we present?|#90: The best systems have a failure or ‘a hole’ in them…|#132: Things will always look weird when you’re the first doing it.|#62: Don’t be a dick. Full dishwasher: empty it.|#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.|#30: Don’t work with artists who are assholes.|#91: Embrace doubt.|#28: Make Contracts.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#37: Operate with radical transparency.|#64: Arrange a distribution of forces.|#16: Kunsthal Gent will always be a construction site.|#117: Consider design, organisational structures and architecture as programme.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#32: Be pan-gender polyphonic.|#112: Spaces today don’t need to be curated, but occupied.|#127: Remain practical: what happens to the work in an endless exhibition?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#40: Follow the artist|#53: Immaterial support for artists is important.|#92: We’re a learning organisation.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#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.|#65: No excuses: Thursday morning, team meeting.|#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.|
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Opening: 07.02.2020 – 20:00

08.02—22.03.2020

Tentoonstelling

Nikolaas Demoen:
Papers, Books and Bolero

Nikolaas Demoen - 'Papers, Books and Bolero'
Cinema Kunsthal Gent
08/02 - 22/03/2020, za/zo 11:00-18:00

De film 'Papers, Books and Bolero' is een dialoog tussen in karton gefictionaliseerde Franse filosofen en gevonden beelden in boeken en losse papieren, en suggereert een mogelijke relatie tussen de verschillende afbeeldingen. Enerzijds toont de film werken uit de kunstgeschiedenis (Tiepolo, Palladio,...) en anderzijds verschijnen beelden uit glossy magazines (Purple Fashion, Vogue). Beide uiteenlopende bronnen worden met elkaar in verband gebracht door sculpturale artefacten uit karton en klei. Op het ritme van Maurice Ravels Bolero verschijnen één voor één de papers and books, die de kijker gaandeweg in een roes brengen.

Papers, Books and Bolero, 2020
Muziek: Maurice Ravel, Bolero
7:02 min, 16 x 9
i.s.m. Christophe Albertijn

Nikolaas Demoen is beeldend kunstenaar en uitgever, gevestigd in Gent, België. In zijn werk onderzoekt hij de relatie tussen de hedendaagse cultuur en de traditie van schoonheid in de kunst, en hoe de individuele mens deze kunstmatige grenzen voortdurend overschrijdt.

Nikolaas Demoen:
Papers, Books and Bolero

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