#124: Do less, do it better.|#20: Are exhibitions the most suitable form for the art that we present?|#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.|#91: Embrace doubt.|#54: What about disabled artists?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#29: We make the program for the artist that we exhibit.|#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|#30: Don’t work with artists who are assholes.|#99: Evolve according to changing needs.|#36: We support production separately.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#62: Be kind. Full dishwasher: empty it.|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#55: Keep basic human needs on the forefront.|#21: Live with the exhibition, spend time with it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#35: The artist fee should be good.|#107: Build a community / scene.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#16: Kunsthal Gent will always be a construction site.|#19: Have fun at the exhibition.|#82: Clean and sterile looks professional, but really boring.|#15: Kunsthal Gent aims to be an extension of public space.|#124: Do less, do it better.|#20: Are exhibitions the most suitable form for the art that we present?|#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.|#91: Embrace doubt.|#54: What about disabled artists?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#29: We make the program for the artist that we exhibit.|#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|#30: Don’t work with artists who are assholes.|#99: Evolve according to changing needs.|#36: We support production separately.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#62: Be kind. Full dishwasher: empty it.|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#55: Keep basic human needs on the forefront.|#21: Live with the exhibition, spend time with it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#35: The artist fee should be good.|#107: Build a community / scene.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#16: Kunsthal Gent will always be a construction site.|#19: Have fun at the exhibition.|#82: Clean and sterile looks professional, but really boring.|#15: Kunsthal Gent aims to be an extension of public space.|
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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

PLACEHOLDER SEP3

TENTOONSTELLINGSZICHTEN
Portret Pei Hsuan Wang Hania Odivius Abassi credit