#56: Take a lunch break.|#34: We pay artists.|#20: Are exhibitions the most suitable form for the art that we present?|#29: We make the program for the artist that we exhibit.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#61: No all male install teams.|#112: Spaces today don’t need to be curated, but occupied.|#117: Consider design, organisational structures and architecture as programme.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#53: Immaterial support for artists is important.|#81: Things come alive when there is friction.|#84: The White Cube is a lie.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#40: Follow the artist|#37: Operate with radical transparency.|#4: Pay what you can.|#21: Live with the exhibition, spend time with it.|#16: Kunsthal Gent will always be a construction site.|#124: Do less, do it better.|#64: Arrange a distribution of forces.|#26: More artists, less borders.|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#111: Do it together.|#56: Take a lunch break.|#34: We pay artists.|#20: Are exhibitions the most suitable form for the art that we present?|#29: We make the program for the artist that we exhibit.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#61: No all male install teams.|#112: Spaces today don’t need to be curated, but occupied.|#117: Consider design, organisational structures and architecture as programme.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#53: Immaterial support for artists is important.|#81: Things come alive when there is friction.|#84: The White Cube is a lie.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#40: Follow the artist|#37: Operate with radical transparency.|#4: Pay what you can.|#21: Live with the exhibition, spend time with it.|#16: Kunsthal Gent will always be a construction site.|#124: Do less, do it better.|#64: Arrange a distribution of forces.|#26: More artists, less borders.|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#111: Do it together.|
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Opening: 25.01.2019 – 17:00

25.01—∞

Tentoonstelling

Steve Van den Bosch:
Unreliable Sources

Zonder titel
2020
Materialen en afmetingen te bepalen
Een tekst over een ongedefinieerd toekomstig werk zal in de loop van een jaar worden geschreven door curator Post Brothers. Elk stadium van de tekst wordt tentoongesteld naargelang de evolutie ervan.

Autocorrect
2019
Neon, timer

I know but when you ask me, I don’t
2012
Audio
Een digitale opname van de gesproken titel werd opgerekt om samen te vallen met de openingsuren van de tentoonstelling.

Steve Van den Bosch (1975, BE) woont en werkt in Brussel en Antwerpen. Zijn werk wordt wel omschreven als balancerend tussen onzichtbaarheid en ontegensprekelijke materialiteit. De vaak gereduceerde verschijning van zijn werk concentreert zich op de periferie van het kunstwerk. Zijn praktijk is niet beperkt tot een specifiek medium en richt zich op de voorwaarden die (een) werk definiëren en de vaak vervormde uitkomsten van lineair redeneren.

Zijn werk was internationaal te zien, onder meer bij The Front Room, Contemporary Art Museum St. Louis, USA; Shanghai Biennale, CN; Kunsthalle Bern, CH; FormContent, London, UK en Witte de With, Rotterdam, NL.

Steve Van den Bosch:
Unreliable Sources

Steve van Den Bosch, Zonder titel, 2020, materialen en afmetingen te bepalen, foto © Michiel De Cleene

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Steve van Den Bosch, I know but when you ask me, I don't, 2012, audio, foto © Michiel De Cleene Steve van Den Bosch, I know but when you ask me, I don't, 2012, audio, foto © Michiel De Cleene
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