#94: No objections? Just do it.|#92: We’re a learning organisation.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#37: Operate with radical transparency.|#127: Remain practical: what happens to the work in an endless exhibition?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#55: Keep basic human needs on the forefront.|#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|#74: Last one out turns of the lights.|#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.|#124: Do less, do it better.|#137: Use the publication as programming space|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#29: We make the program for the artist that we exhibit.|#15: Kunsthal Gent aims to be an extension of public space.|#26: More artists, less borders.|#17: An exhibition is never finished.|#44: No name tags at dinner.|#65: No excuses: Thursday morning, team meeting.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#81: Things come alive when there is friction.|#56: Take a lunch break.|#94: No objections? Just do it.|#92: We’re a learning organisation.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#37: Operate with radical transparency.|#127: Remain practical: what happens to the work in an endless exhibition?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#55: Keep basic human needs on the forefront.|#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|#74: Last one out turns of the lights.|#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.|#124: Do less, do it better.|#137: Use the publication as programming space|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#29: We make the program for the artist that we exhibit.|#15: Kunsthal Gent aims to be an extension of public space.|#26: More artists, less borders.|#17: An exhibition is never finished.|#44: No name tags at dinner.|#65: No excuses: Thursday morning, team meeting.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#81: Things come alive when there is friction.|#56: Take a lunch break.|
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Opening: 30.09.2022 – 20:00

30.09—18.12.2022

Tentoonstelling

Pei-Hsuan Wang:
Ghost Eat Mud

Jaren geleden maakte de moeder van Pei-Hsuan Wang de oversteek van Taiwan naar de Verenigde Staten. Pas later zou Pei-Hsuan haar volgen, om na haar studies door te reizen naar Europa. Wang botste op jonge leeftijd al snel op de onzekerheden die de verschillen tussen ‘het Oosten’ en ‘het Westen’ met zich meebrachten. Door te putten uit haar trauma’s, herinneringen, familiegeschiedenis en aspiraties, onderzoekt Wang’s werk de kwetsbaarheid, tegenstrijdigheden en schoonheid die verbonden zijn met de identiteitsontwikkeling van een Aziatische vrouw in diaspora.

Het 12-jarige nichtje van de kunstenaar, Iris, is een biraciaal meisje met Taiwanees-Amerikaanse roots en een rijke verbeelding. Ze inspireerde Wang’s oeuvre, waarin raciale en culturele kruisingen worden voorgesteld aan de hand van oerbeelden uit mythes en uit de natuur. De dieren in haar werk verbeelden bewakers en portalen. Ze geven innerlijke ervaringen vorm en roepen narratieven op die zowel onze instincten als onze fantasie aanwakkeren.

Aan de hand van beeldhouwkunst, installaties, illustratie, textiel en geluid introduceert Wang in de tentoonstelling Ghost Eat Mud personages die drie generaties omspannen. We zien referenties opduiken naar haar nichtje (en neefje) maar ook naar zichzelf en haar moeder. Ze verwijst hierbij opzettelijk naar met ezelsoren versleten hoofdstukken uit haar leven.

Bio

Pei-Hsuan Wang stelde haar werk o.a. tentoon in het Taipei Fine Arts Museum, Hong-Gah Museum, Taipei en de National Gallery of Indonesia. Recente solotentoonstellingen zijn onder meer ‘I've Left My Body to Occupy Others’ bij Good Weather, Chicago (2020), ‘For Iris’ bij Gallery 456, New York (2020), en ‘You Are My Sunshine’ bij Taipei Contemporary Art Center (2019). Momenteel werkt en woont ze in Gent als resident aan het HISK Hoger Instituut voor Schone Kunsten.

Pei-Hsuan Wang:
Ghost Eat Mud

MDC KHG Pei Hsuan Wang 007 LR

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