#117: Consider design, organisational structures and architecture as programme.|#44: No name tags at dinner.|#2: Bring something new to the city of Ghent.|#81: Things come alive when there is friction.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#6: Demand that visitors are active.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#10: Don’t be obsessed with numbers.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#64: Arrange a distribution of forces.|#29: We make the program for the artist that we exhibit.|#62: Don’t be a dick. Full dishwasher: empty it.|#14: Can you also remain a toddler institution?|#32: Be pan-gender polyphonic.|#65: No excuses: Thursday morning, team meeting.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#39: Be the early stepping stone in an artist’s career|#111: Do it together.|#74: Last one out turns of the lights.|#124: Do less, do it better.|#53: Immaterial support for artists is important.|#56: Take a lunch break.|#112: Spaces today don’t need to be curated, but occupied.|#26: More artists, less borders.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#137: Use the publication as programming space|#36: We support production separately.|#132: Things will always look weird when you’re the first doing it.|#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.|#37: Operate with radical transparency.|#17: An exhibition is never finished.|#61: No all male install teams.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#4: Pay what you can.|#99: Evolve according to changing needs.|#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.|#55: Keep basic human needs on the forefront.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#68: Once in a while we need to get out of utopia and get something done.|#107: Build a community / scene.|#28: Make Contracts.|#92: We’re a learning organisation.|#15: Kunsthal Gent aims to be an extension of public space.|#105: Kunsthal Gent is local in scale, but globally connected.|#34: We pay artists.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#30: Don’t work with artists who are assholes.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#40: Follow the artist|#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.|#94: No objections? Just do it.|#84: The White Cube is a lie.|#98: The success of it will not lie in the result but in the process.|#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|#127: Remain practical: what happens to the work in an endless exhibition?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#91: Embrace doubt.|#21: Live with the exhibition, spend time with it.|#19: Have fun at the exhibition.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#35: The artist fee should be good.|#20: Are exhibitions the most suitable form for the art that we present?|#16: Kunsthal Gent will always be a construction site.|#119: Be a space of production.|#89: Build-in impurity within the organisation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#90: The best systems have a failure or ‘a hole’ in them…|#54: What about disabled artists?|#51: How do we invite the true unknown?|#82: Clean and sterile looks professional, but really boring.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#117: Consider design, organisational structures and architecture as programme.|#44: No name tags at dinner.|#2: Bring something new to the city of Ghent.|#81: Things come alive when there is friction.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#6: Demand that visitors are active.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#10: Don’t be obsessed with numbers.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#64: Arrange a distribution of forces.|#29: We make the program for the artist that we exhibit.|#62: Don’t be a dick. Full dishwasher: empty it.|#14: Can you also remain a toddler institution?|#32: Be pan-gender polyphonic.|#65: No excuses: Thursday morning, team meeting.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#39: Be the early stepping stone in an artist’s career|#111: Do it together.|#74: Last one out turns of the lights.|#124: Do less, do it better.|#53: Immaterial support for artists is important.|#56: Take a lunch break.|#112: Spaces today don’t need to be curated, but occupied.|#26: More artists, less borders.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#137: Use the publication as programming space|#36: We support production separately.|#132: Things will always look weird when you’re the first doing it.|#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.|#37: Operate with radical transparency.|#17: An exhibition is never finished.|#61: No all male install teams.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#4: Pay what you can.|#99: Evolve according to changing needs.|#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.|#55: Keep basic human needs on the forefront.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#68: Once in a while we need to get out of utopia and get something done.|#107: Build a community / scene.|#28: Make Contracts.|#92: We’re a learning organisation.|#15: Kunsthal Gent aims to be an extension of public space.|#105: Kunsthal Gent is local in scale, but globally connected.|#34: We pay artists.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#30: Don’t work with artists who are assholes.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#40: Follow the artist|#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.|#94: No objections? Just do it.|#84: The White Cube is a lie.|#98: The success of it will not lie in the result but in the process.|#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|#127: Remain practical: what happens to the work in an endless exhibition?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#91: Embrace doubt.|#21: Live with the exhibition, spend time with it.|#19: Have fun at the exhibition.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#35: The artist fee should be good.|#20: Are exhibitions the most suitable form for the art that we present?|#16: Kunsthal Gent will always be a construction site.|#119: Be a space of production.|#89: Build-in impurity within the organisation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#90: The best systems have a failure or ‘a hole’ in them…|#54: What about disabled artists?|#51: How do we invite the true unknown?|#82: Clean and sterile looks professional, but really boring.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|
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Opening: 25.09.2020 – 20:00

25.09—∞

Tentoonstelling

Martin Belou:
Remuer Ciel et Terre

Martin Belou - Remuer Ciel et Terre
25.09 — ∞

Voor de centrale kerk van Kunsthal Gent ontwikkelt Martin Belou (FR) het project Remuer Ciel et Terre, een synesthetische totaalervaring die schippert tussen sculptuur en performance. Het werk maakt enerzijds gebruik van de hoogte van de ruimte, met lichte, organische elementen en verlichting, een precaire constellatie hangend in de lucht, magisch als een sterrenhemel en niet toegankelijk voor de mens. Een tweede element in het werk is juist zwaar en solide, verankerd in de ruimte. Dit is het terrein van de mens. Met een fontein, een oven, een huis, een schuilplaats, een kelder, een schoorsteen, banken, ... , is het een plaats om te bewonen. Ytong blokken komen samen met primitieve technieken en referenties uit basale, vroege architectuur. Deze bouwwerken worden bekleed met hout en leem. Al deze elementen zijn praktisch bruikbaar, maar door de schaal zien ze er bijna als modellen uit. Het geheel functioneert als een blauwdruk voor een dorp - voor een samenkomst.

Belou speelt met deze ingreep in op de essentie van het gebouw en het oorspronkelijke doel van de kerkelijke architectuur, die de mens oproept tot een relatie met het goddelijke. Maar de ingreep van Belou buigt dat om en zet aan tot een relatie met de natuur, die de kern van ons mens-zijn definieert. Belou maakt een plek die de bezoeker uitnodigt om deel te nemen en het werk actief te gebruiken. De sporen die deze tentoonstelling achterlaat blijven functioneel voor het verdere vervolg van de Endless Exhibition.

Martin Belou (1986) woont en werkt in Marseille en Brussel. Belou creëert performatieve situaties en ervaringen met de vier elementen: aarde, water, lucht en vuur. Gedreven door intuïtie en een ambachtelijk 'savoir-faire' combineert hij sculpturen, tekeningen en organische materialen (paddenstoelen, kruiden, hout, steen, metaal, krijt...) in installaties die vaak te maken hebben met universele noties van vakmanschap, traditie en gemeenschap. Door efemere processen als rook of ontbinding in zijn palet van materialen te integreren, schildert hij langzaam maar zeker een nieuwe atmosfeer. Zijn werk werd getoond in verschillende projectruimtes, instituten en galerijen in Frankrijk, België, Mexico, Duitsland, de Verenigde Staten.


Martin Belou:
Remuer Ciel et Terre

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