Sophie Nys

On 5 December 2019 the Ghent museums open their doors to the general public. Experience a wonderful night out amidst the finest collections, beautiful expositions and special activities of our museums. 

Be surprised by the work of Romanian artist Ciprian Muresan, see how Ronny Delrue enters into a dialogue with five artists from around the world, discover the ‘noWHere places’ in ‘From the Collection’ and watch the films by Nashashibi/Skaer, an internationally renowned artistic duo. Design your own flag via an app in the entrance hall and enjoy the jazz combo REEDS & DEEDS. Citadelic Jazz is paying tribute to Rahsaan Roland Kirk (two sets at 8.15 pm and 9.30 pm). So come on down! Because there’ll be a DJ in the foyer to add the music to museum night. 

  • In Design Museum Gent,  S.M.A.K., Dr. Guislain Museum, The House of Alijn, Museum of Industrie, MSK, STAM, St Peter’s Abbey, The World of Kina and Kunsthal
  • On Thursday 5 December 2019 from 6 pm till 1 am.
  • The museums are completely free.
  • From 4pm till  8pm  STAM - the city museum of Ghent- invites all children and their (grand)parents to an exciting Museum Night for Children.
  • AmuseeVous invites you to the afterparty at Charlatan (Vlasmarkt 6) from 11pm till 4am. Tickets: presale: 5 euro, at the location: 7 euro (sale starts on the 5th of November)
  • We will announce the programme for Museum Night 2019 soon.

in category: Event - Performance

Etcetera is a one evening exhibition with performance and video in the entrance hall of S.M.A.K., organised by the Young Friends of the Vrienden v/h S.M.A.K. 

This year the hall forms the starting point of the exhibition. The fluid space is used to exhibit various promising Belgian and international artists as well as works from the collection. 

With:

Madeleine Andersson | Simon Baetens | Joseph Beuys | Michel Couturier | Olga D'haene | Jacob Dwyer | Hanane El Farissi | Deveny Faruque | Annika Larsson | Hyeonju Lee & Niklas Büscher | Flor Maesen | Mirte van Duppen | Qiteng Wu | Vieze Meisje | Lieselotte Vloeberghs

  • Thursday 12 December 2019.
  • Entrance: €5.00 | Vrienden v/h S.M.A.K. free 
  • Students free
  • Organised and curated by: Jef Declercq, Zoë Hoornaert, Adriënne van der Werf en Victor Van Wassenhove.
  • With the support of: Art United, Cera, In De Ruimte, SMAK Gent, Vrienden v/h SMAK

in category: Event - Performance

Nashashibi/Skaer, Lamb, 2019, film still
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Nashashibi/Skaer, Lamb, 2019, film still
Mark Manders Detail uit Landscape with Colours, 1997 Foto: Dirk Pauwels
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Mark Manders Detail uit Landscape with Colours, 1997 Foto: Dirk Pauwels

On Friday 29 November 2019, between 20:00 and 23:00, you are warmly invited to attend the opening of two new exhibitions in S.M.A.K.

Nashashibi/Skaer - Future Sun 

Nashashibi/Skaer is the joint practice of film-maker and painter Rosalind Nashashibi and sculptor and film-maker Lucy Skaer. Together, the artists create meditative films about art, mythology and the world. They often take the work of other artists as a starting point for exploring themes that touch them personally, such as the portrayal of women, identity, beauty and its pitfalls, colonisation and political conflicts. In ‘Future Sun’, Rosalind Nashashibi and Lucy Skaer bring together films, paintings and sculptures from their joint and individual practices to create an exhibition based on the principle of non-linear time. The artists have also made a new film, ‘Lamb’ (2019), especially for ‘Future Sun’.

From the Collection | noWHere

The exhibition ‘From the Collection | noWHere’ unites works from the S.M.A.K. collection around the idea of the ‘non-place’. Non-places are actual contemporary locations that, thanks to their impersonal and fleeting character, evoke feelings such as nostalgia, detachment and an indefinable longing. Think, for example, of hotel rooms, airports, metro stations or motorways, but also museums. Artists often use the non-place as a metaphor for a completely autonomous site, a (utopian) sanctuary that is separate from any form of regulation. The works in this exhibition all reveal links to this concept and are shown independently of one another, as ‘non-places’ in themselves. With work by Maurice Blaussyld, Dirk Braeckman, Jean-Marc Bustamante, Johan De Wilde, Alberto Garutti, Mark Manders, Wesley Meuris, Reinhard Mucha, Dennis Oppenheim, Paul Thek, Jan Vercruysse, Henk Visch en Lawrence Weiner.

Both exhibitions run from 30.11.2019 until 16.02.2020. 

in category: Event - Performance

Every first Thursday of the month (not in July and August), we stay open until 9 pm. Join us for a visit to the exhibitions and Citadelic Jazz. 

Discover the exhibitions Ciprian Muresan (Europalia Romania) and Correspondances | Ronny Delrue in dialogue.

Citadelic Jazz is representing

  • SPOOK (BE) - Filip Wauters (pedal steel & guitar), Nicolas Rombouts (double bass), Simon Segers (drums)

    The pivotal figure for this new formation is the remarkable guitarist Filip Wauters (the Whodads, Arno, het Zesde Metal, Kamikaze). He has a unique sharp sound that fits both jazz and rock. In his playing he allows post-Coltrane harmonies to seamlessly connect with the blues. The band BackBack is his favorite playground. This fresh project, made for the Citadelic Festival 19, delivers strongholds Nicolas Rombouts (Dez Mona, Guido Belcanto, Ottla) and Simon Segers (Black Flower, STADT, De Beren Gieren, MDC III) on stage as Filips sparring partners.
  • TOC & DAVE REMPIS (FR/US) - Jérémie Ternoy (Fender Rhodes), Ivann Cruz (guitare), Peter Orins (drums), Dave Rempis (alto and tenor saxophone) i.s.m. Muzzix Lille

    Saxophone player Dave Rempis is a figure of the free-jazz scene of Chicago. Since their creation in 2008, as their name seems to indicate, Toc members are rather obsessive or even compulsive. Their frenetic, ritualized but non-contagious behavior accompanies the listener in a hectic space-time before bringing them back to the mainland in a more or less turbid state. In addition to their taste for improvisation without barriers or blinkers, Toc and Dave Rempis share an energy and a communicative power, looking to play the density, the organic and trance in jubilation.

Practical information

  • S.M.A.K. is open until 9 pm.
  • Entrance: museum ticket (until 8 pm) or Citadelic Jazz. 
  • Further nocturnes on 5 December 2019 = Museum Night.

in category: Event - Performance

Please join us for the inaugural Curatorial Lecture in the 2019-20 series on the theme of 'Working with Collections', by the London-based curator and publisher Mathieu Copeland. 

As a curator, Mathieu Copeland has been developing a practice that seeks to subvert the traditional role of, and renew our perceptions of exhibitions.

He co-curated the exhibition "VOIDS, A Retrospective" (2009) at the Centre Pompidou, Paris, and the Kunsthalle, Bern, and edited the accompanying anthology VOIDS.

His recent exhibitions include "A Retrospective of Closed Exhibitions" at Kunsthalle Fribourg (2016) and "The exhibition of a film" (2014), an exhibition as a feature film for cinemas.

Copeland edited the critically acclaimed anthology and manifesto publication "Choreographing Exhibitions" (2013). In 2017, he co-edited the anthology "The Anti-Museum" (FRI ART / Koenig Books). His most recent edited volume – the anthology "Gustav Metzger: Writings" (JRP | Editions, 2019) – comes out this month.

Practical information

  • Thursday 7 November 2019 from 7 until 9 pm.
  • Kunsthal Gent, Lange Steenstraat 14, 9000 Gent.
  • Free, all welcome. 
  • Facebook event.

Each academic year, S.M.A.K., Ghent University and Curatorial Studies at KASK-School of Arts Ghent co-organise the prestigious Curatorial Lectures series, given by renowned curatorial practitioners in relation to a specific theme. After "Working with Artists" (2017-18) and "Learning from Artists" (2018-19), this year's theme addresses the curatorial challenges of curating in the context of public and private collections.

Past speakers in the Curatorial Lectures series have included Anthony Huberman, Jean-Hubert Martin, Chus Martínez, Gabi Ngcobo, Susanne Pfeffer, Nicolaus Schafhausen and Adam Szymczyk.

in category: Extra Muros

Ciprian Mureşan All the Images from the Complete collection catalogue of S.M.A.K., 2019 pencil on paper, detail
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Ciprian Mureşan All the Images from the Complete collection catalogue of S.M.A.K., 2019 pencil on paper, detail
Ronny Delrue,‘Mother, memory revisited’, 2015 Geperforeerde foto, 32,5 X 23,9 cm. Foto: Tom De Visscher
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Ronny Delrue,‘Mother, memory revisited’, 2015 Geperforeerde foto, 32,5 X 23,9 cm. Foto: Tom De Visscher

On Friday 25 October 2019, between 8 and 11 pm, you are warmly invited to attend the opening of two new exhibitions in S.M.A.K.

Discover the work of Romanian artist Ciprian Mureşan, which is exhibited as part of Europalia Romania. His work recontextualises historical anecdotes, iconic works of art, religious rituals and popular forms of culture and, in so doing, disrupts the well-defined (art) historical narratives. In this way, he reduces all the works in the S.M.A.K. collection to a post-figurative state, demonstrating the absurdity of also viewing this history as a linear story.

----------

At the heart of the exhibition ‘Correspondances’ is the correspondence between Ronny Delrue with five artists from as many countries. Via drawings, extracts from letters and collages, this exhibition not only explores the encounter between artists from different geographical backgrounds and cultural attitudes, but also approaches Delrue’s own oeuvre from a fresh angle.

Practical information:

  • Opening exhibition on Friday 25 October at 8 pm.
  • The exhibition runs from 26 October 2019 until 19 January 2020.

in category: Exhibition

Felix Kindermann
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Felix Kindermann

‘Choir Piece’ understands itself as a sculpture performed by sixteen singers from the Ghent Singers choir on 3 October 2019 and sets an immaterial score under the collection exhibition. 

From his sculptural practice, Felix Kindermann* examines the spatial dimension of time, movement and sound. His most recent work, 'Choir Piece’ was shown when the exhibition ‘Highlights for a Future, The Collection (1)’ was already partially dismantled. This transitional phase also concerns the museum, which seems to be weighing up the accumulative processes that underpin its collection against a performance, which is time-bound and impossible to preserve. In this case however, it still exists as “soziales Ding im Raum” [social thing in space].

 

‘Composition for Separated Musicians’, which was commissioned from the American composer Natalie Dietterich, provides each performer with a score containing minimal notation, free syntax and a number of performance instructions. The final form of the composition is determined by the improvisations made by the singers, who can use their voices to confirm, ignore or eclipse one another. Various interventions, such as fragmentation and acoustic distortion, further disrupt the collective nature of the choir and essentialise Kindermann’s research into the impact of a far-reaching deconstruction on the inherent harmony of a classical composition.

The vocal lines are translated, via the museum architecture, into a choreography that spatially plays on the theme of separation and connection. It requires a constant repositioning of both performers and spectators, thereby involving them in an individual experience. Against the background of their mutual interactions, a social organism emerges in which moments of alienation, conditioning and dominance can be read as manifestations of a social condition.

With kind support of Tony & Sissi Moens.

  • Concept and text: Felix Kindermann
  • Composition: Natalie Dietterich
  • Choreographic performance: Felix Kindermann, Jochem van Laarhoven & Ivan Cheng
  • Ghent Singers:
  • Sopranos: Marion Bauwens, Jolien de Gendt, Blandine Coulon, Alice Wielant
  • Altos: Sonia Sheridan Jacquelin, Boris Kondov, Paúl Sojo, Dida Gonzales
  • Tenors: Ivan Goossens, Henk Pringels, Ivan Yohan, Guillaume Huybrechts
  • Basses: Mark Trigg, Wouter Vandenginste, Andres Soler, Pieter Coene

Felix Kindermann (b. 1978, Cologne, Germany) lives and works in Brussels. Upcoming exhibitions and performances include Lewis Center for the Arts, Princeton, US; KIT, Duesseldorf, DE; Lesage, Brussels, BE; and Art Verona, IT. Recent exhibitions and performances include Fondation CAB, Brussels, BE; Museum Dhondt-Dhaenens, Ghent, BE; 76,4, Brussels, BE; Deborah Bowmann,Brussels, BE; These Things Take Time, Ghent, BE; Galerie Nadine Feront (2014, 2015, and 2016); and Kunsthalle Baden-Baden (45cbm), DE. Kindermann, who earned an MFA in Industrial Design from Hochschule für bildende Künste Hamburg and an MFA from Sint-Lukas Brussels in 2010. He is currently Visiting Professor of Mixed Media at Sint-Lucas Ghent.

in category: Event - Performance

On Sunday 13 October 2019 at 11 am, S.M.A.K. will bid farewell to Philippe Van Snick (1946 - 2019) with a new publication designed by Inge Ketelers and the artist in the spring of 2019.

The tribute will take place next to ‘Monochrome destabilisé-ré’ (1980) by Philippe Van Snick, which is currently on display in the exhibition ‘Highlights for a Future, The Collection (1)’.

Programme

  • 11 am – An informal talk by Luk Lambrecht of the Cultuurcentrum Strombeek.
  • 11 am – Book presentation: ‘Philippe Van Snick, The Project’.
  • Koen Van Synghel, architect and architecture critic in conversation with Inge Ketelers, graphic designer.
  • Please confirm your attendance: reservation@smak.be

in category: Collection

Guillaume Leblon, There is a Man, 2014-2016 (detail), mixed media, video, variabele afmetingen. Foto: Dirk Pauwels
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Guillaume Leblon, There is a Man, 2014-2016 (detail), mixed media, video, variabele afmetingen. Foto: Dirk Pauwels

After the exhibitions ‘Ungenau’ (Geel, 2015) and TRUST (Les Brasseurs, Liège, 2018), a new collaboration is being initiated with the PXL-MAD School of Arts in Hasselt. The umbrella title is ‘S.M.A.K. goes MAD’.

The exhibition includes a selection of artworks from the S.M.A.K. collection, which offers the museum the opportunity to re-establish a dialogue with the outside world (in this case an educational institution) via its collection. At the same time, the PXL-MAD School of Arts provides an opportunity to bring art from a museum collection closer to the students and to build up a related discourse.

The collaboration will consist of three exhibitions during the academic year 2019-2020. In an accompanying discursive programme, the project will be further explored through guest lectures and discussions with students, artists and other professionals.  During the first exhibition, S.M.A.K. will show an installation from its collection: THERE IS A MAN by Guillaume Leblon.

Curated by Philippe Van Cauteren

Practical information

  • 1 October 2019 - 30 November 2019
  • Address: De Kooi - Campus PXL-MAD - Elfde Liniestraat 25 (building C) - 3500 Hasselt. Opening times : Monday to Friday, from 9:00 tot 17:00. Free admission.
  • Website PXL MAD

in category: Extra Muros

Subba’s back with another episode of this smacking series of trailblazing gigs in Ghent’s Citadelpark. This month, we’re proud to be featuring probably one of the best rosters we’ve ever had. 

So buckle up, sharpen that hearing and sight, and get ready to gasp for air, ‘cause there won’t be time for chilling. Here’s what we’ve got cooking for you:  

Croatian Amor

We’re in the last months of the year, so we can hear you coming: talking best albums of the year? Here you have one serious contender: Croatian Amor’s Isa. The specs: vocal contributions by Yves Tumor, Puce Mary and Soho Rezanejad, a fascinating mix between ambient, industrial textures and pop touches, some unpredictable, wild song structures and rhythm patterns and a masterfully balanced play between darkness and light that wanders through the whole album. Classic!  

BEA1991

Multidisciplinary artist BEA1991 just keeps on getting better. This Summer she released her highly-anticipated first full length Brand New Adult. an intriguing record full of arty r&b and trip hop, co-produced with Benny Sings and Sneaker Pimp’s Liam Howe. The single My Own Heaven comes with a must-watch “art-documentary film”, featuring BEA1991 on the world’s largest cruise ship. Oh and yep, it’s her singing on Blood Orange’s E.V.P..  

Crystallmess

Parisian DJ, producer, writer and mixed media artist Crystallmess will present her Collective Amnesia: In Memory Of Logobi performance, a pluridisciplinary project tackling the process of the loss of facts, post-colonial alienation and club culture.  

Praktische informatie

  • Thursday 24 October 2019 - 8 pm.
  • Entrance: 10 euro - free for members
  • Facebook event
  • Website Subbacultcha
  • Subbacultcha at S.M.A.K. is supported by Carhartt WIP, Stad Gent, CERA, Art United and Vlaamse Gemeenschap.
Ciprian Muresan
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Ciprian Muresan
Ronny Delrue
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Ronny Delrue

We offer you a warm welcome to the opening of two new exhibitions 'Correspondances - Ronny Delrue in dialogue' and 'Europalia Romania | Ciprian Muresan' on Friday 25 October 2019. 

Europalia Romania | Ciprian Muresan

Muresan’s versatile visual language is embodied in a method of reproduction and reference. For this exhibition, the artist has made a scale model of S.M.A.K. for the presentation of a series of so-called ‘palimpsest drawings’, which he has based on images from the museum’s new collection catalogue. In a layered way, he reduces all the artworks in the collection to a post-figurative state: a destructive and at the same time creative act that underscores the absurdity of also depicting this history as a linear story. The exhibition takes this new installation as a starting point for further exploration of Muresan’s subjective approach to time, memory and the processes of historicization.

Correspondances - Ronny Delrue in dialogue

In recent years, Ronny Delrue corresponded with the following five artists: Martin Assig (Germany), Salam Atta Sabri (Iraq), Roger Ballen (South Africa), Sanjeev Maharjan (Nepal) and Mithu Sen (India). The visual dialogue with Christine Remacle (Belgium), conducted within the framework of Bruges 2002 and the Kanttekening project, can be viewed as having sown the seed for Correspondances.

The exhibition presents a selection of the correspondence between the six artists, supplemented with works by Ronny Delrue. It can be experienced as a journey in which the idea of the artist as an individual, as it were, ‘dissolves’ in a process of co-creation, one that shifts between document and artwork, and between art and life.

  • Friday 25 October 2019 between 8 and 11 pm.
  • Until 19 January 2020.

in category: Exhibition

Workshop September 2019, image: Titus Simoens
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Workshop September 2019, image: Titus Simoens
Carstel Höller Schwarzer Elefant 1999 polyurethaan
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Carstel Höller Schwarzer Elefant 1999 polyurethaan
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Katharina Heinrich, 'Ohne Titel', 1997, polyethyleen, nylondraad, h. 226 cm x b. 197 cm, bruikleen Collectie Vlaamse Gemeenschap
Workshop September 2019, image: Titus Simoens
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Workshop September 2019, image: Titus Simoens
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Bruce Nauman, 'Untitled (Four Small Animals)', 1989, mixed media, h. 43 cm x b. 244 cm x d. 269 cm
Workshop September 2019, image: Titus Simoens
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Workshop September 2019, image: Titus Simoens
Workshop September 2019, image: Titus Simoens
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Workshop September 2019, image: Titus Simoens
Workshop September 2019, image: Titus Simoens
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Workshop September 2019, image: Titus Simoens

S.M.A.K. and Design Museum Gent identify plastics in their collections.

Plastics are justifiably coming under fire in the midst of the climate debate, because, as we all know, they are difficult to biodegrade and recycle, and create what is called a trash vortex in the oceans. However, museum restorers are now expressing concern about their plastic collection items. Because some plastics may never perish, but most do decompose. And sometimes even within a short period of time.

Plastic is a comparatively new material in museum collections. The many different types of plastic call for a customised care approach. S.M.A.K. and Design Museum Gent, which together store some 4,000 plastic items, launched a project in 2018 as part of this approach. The first step involves establishing a standard terminology to identify and define materials, techniques and damage phenomena. During the second phase, the type of plastic is identified for each collection item and a condition report is prepared. This is done on the basis of source research, the 'plastic identification tool', recently developed in the Netherlands, or chemical analysis.

The museum staff and researchers involved will be gathering together during the week of 16 September for the purpose of sharing their expertise. A private workshop will be held to introduce them to the 'plastic identification tool', in which plastics are identified by means of an online questionnaire, material samples and making a careful analysis using four senses: sight, smell, touch and hearing. The collections of S.M.A.K., Design Museum Gent, ADAM-Brussels Design Museum, MoMu and FOMU will be covered. This project is the result of a collaboration between the Nederlandse Rijksdienst voor het Cultureel Erfgoed (Dutch Cultural Heritage Agency), the Koninklijk Instituut voor het Kunstpatrimonium (Royal Institute for Cultural Heritage) and the Cologne Institute of Conservation Sciences of TH Cologne (University of Applied Sciences).

in category: Collection

Felix Kindermann, Choir Piece.
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Felix Kindermann, Choir Piece.

On Thursday 3 October 2019 the museum stays open until 9 pm. You can discover our collection exhibition on the first floor and enjoy an intervention by Felix Kindermann and Citadelic Jazz. 

Felix Kindermann - Choir Piece

From his sculptural practice, Felix Kindermann* examines the spatial dimension of time, movement and sound. His most recent work, ‘Choir Piece’, presents itself as a performance executed by sixteen singers from the Ghent Singers choir and sets an immaterial score under the exhibition ‘Highlights for a Future, The Collection (1)’.

‘Choir Piece’ will be shown when the exhibition ‘Highlights for a Future, The Collection (1)’ is already partially dismantled. This transitional phase also concerns the museum, which seems to be weighing up the accumulative processes that underpin its collection against a performance, which is time-bound and impossible to preserve. In this case however, it still exists as “soziales Ding im Raum” [social thing in space].

‘Composition for Separated Musicians’, which was commissioned from the American composer Natalie Dietterich, provides each performer with a score containing minimal notation, free syntax and a number of performance instructions. The final form of the composition is determined by the improvisations made by the singers, who can use their voices to confirm, ignore or eclipse one another. Various interventions, such as fragmentation and acoustic distortion, further disrupt the collective nature of the choir and essentialise Kindermann’s research into the impact of a far-reaching deconstruction on the inherent harmony of a classical composition.

The vocal lines are translated, via the museum architecture, into a choreography that spatially plays on the theme of separation and connection. It requires a constant repositioning of both performers and spectators, thereby involving them in an individual experience. Against the background of their mutual interactions, a social organism emerges in which moments of alienation, conditioning and dominance can be read as manifestations of a social condition.

With kind support of Tony & Sissi Moens.

  • Concept and text: Felix Kindermann
  • Composition: Natalie Dietterich
  • Choreographic performance: Felix Kindermann, Jochem van Laarhoven & Ivan Cheng
  • Ghent Singers:
  • Sopranos: Marion Bauwens, Jolien de Gendt, Marnie Deweer, Wineke van Lammeren
  • Altos: Sonia Sheridan Jacquelin, Boris Kondov, Paúl Sojo, Dida Gonzales
  • Tenors: Ivan Goossens, Henk Pringels, Ivan Yohan, Guillaume Huybrechts
  • Basses: Mark Trigg, Wouter Vandenginste, Andres Soler, Pieter Coene

* Felix Kindermann (b. 1978, Cologne, Germany) lives and works in Brussels. Upcoming exhibitions and performances include Lewis Center for the Arts, Princeton, US; KIT, Duesseldorf, DE; Lesage, Brussels, BE; and Art Verona, IT. Recent exhibitions and performances include Fondation CAB, Brussels, BE; Museum Dhondt-Dhaenens, Ghent, BE; 76,4, Brussels, BE; Deborah Bowmann,Brussels, BE; These Things Take Time, Ghent, BE; Galerie Nadine Feront (2014, 2015, and 2016); and Kunsthalle Baden-Baden (45cbm), DE. Kindermann, who earned an MFA in Industrial Design from Hochschule für bildende Künste Hamburg and an MFA from Sint-Lukas Brussels in 2010. He is currently Visiting Professor of Mixed Media at Sint-Lucas Ghent.

Citadelic Jazz at 9 pm

GIOVANNI BARCELLA 'BASSA SERATA' (IT/BE/FR/) - Giovanni Barcella (drums), Stefaan Dheedene (Clacque, installation, performance), Manolo Cabras (double bass), Brice Soniano (double bass), Younes Zarhoni (voice), Alber (werktekst). 

Practical information:

in category: Event - Performance

Oscar Murillo,Triennale Kathmandu 2017, photo: Dirk Pauwels
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Oscar Murillo,Triennale Kathmandu 2017, photo: Dirk Pauwels
Oscar Murillo, Untitled, 2013 mixed media op doek h. 225cm x b. 178cm 2013 privé-collectie, België
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Oscar Murillo, Untitled, 2013 mixed media op doek h. 225cm x b. 178cm 2013 privé-collectie, België

One of Oscar Murillo’s (°1986, La Paila) paintings is currently on display in the exhibition ‘Highlights for a Future: The Collection (I)’. Artistic director Philippe Van Cauteren will have a conversation with the artist about his work. 

Commonality, identity, language and cultural and social inclusion are central themes in Oscar Murillo’s practice. He often incorporates aspects of his personal history and his cross-cultural ties with his homeland of Colombia. By involving family members, local factory workers and school children in the creative process, he makes social statements that connect different worlds. In this respect, the steering of community formation is just as important as the uncovering of phenomena and feelings related to rootlessness or displacement. His paintings are also made using a process-based method: cut pieces of fabric are treated with oil paint and left in the studio for a certain period of time, during which they absorb dust, dirt and other environmental elements. These materials, which are the same throughout the world regardless of the social or cultural context, are consistent with the egalitarian and inclusive approach seen within his oeuvre. One of Murillo’s paintings is currently on display in the exhibition ‘Highlights for a Future: The Collection (I)’. In 2017, the artist participated in the first Kathmandu Triennial, organized by S.M.A.K. in collaboration with the Siddhartha Arts Foundation. In partnership with a local silk-screen printing studio, he created the work ‘The Coming of the Europeans’, which addresses the lasting legacies of colonialism.

Practical information


 

in category: Artist Talk

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Film still 'Let Your Mind Be Your Bed' by Bjarne Melgaard

S.M.A.K. is honored to present Bjarne Melgaard’s (°1967, Sydney) recent film ‘Let Your Mind Be Your Bed’. The screening will be followed by a conversation between the artist and Ulrike Lindmayr.

The film takes the form of an experimental puppet show where we meet four protagonists’ dolls in conversation. Their interaction is constructed around the late New York-based author Kathy Acker and Bjarne Melgaard's parents and sister. The character's dialogue and exchanges are inspired by Acker's pioneering literature that unites impulses from punk, postmodernism and sex-positivist feminism. ‘Let Your Mind Be Your Bed’ was first presented live as a puppet show at Performance Space 122 in New York last year, in the group exhibition ‘Kathy Acker: Who Wants to Be Human All the Time’ (2018) curated by Bjarne Melgaard and Jenny Schlenzka that reassessed the deep and often-unacknowledged influence of the iconic, radical and uncompromising writer, who died twenty years ago.

Bjarne Melgaard’s formative years as an artist are inextricably linked to the history of S.M.A.K. His work was included in two major exhibitions, namely ‘De Rode Poort’ (1996) and ‘De Opening’ (1999). During the heydays of neo-conceptualism in the mid-1990s, Melgaard broke through with paintings, sculptures and installations imbued with desire and sexuality, and which explored the boundaries of the permissible and the prevailing morality. His work ‘Moon over Islam’ (1999) is currently on display as part of the exhibition ‘Highlights for a Future, The Collection (I)’,

Practical information

  • Thursday 26 September 2019 - 7.30 pm.
  • Free entrance.
  • Reservation via reservation@smak.be.
  • In English.

in category: Artist Talk

To mark the publication of ‘Reflexologies’, we will be staging a discussion with the artists Nina Canell and Robin Watkins about placing work, installations and exhibiting in book form.

Over the past five years, Nina Canell has created solo exhibitions for a range of museums and institutes, including ‘Energy Budget’ (2018) for S.M.A.K. In the recent publication Reflexologies (2019), she brings these projects together in a carefully documented volume. Images of the exhibitions are reproduced in the book in a loose chronological order, thus drawing attention to visible parallels and mutual relationships between the various installations and sculptures. Essays by Martin Herbert, Jennifer Teets and Robin Watkins touch upon a number of specific attributes related to time, process and the material qualities of the work.

Reflexologies is published by Sternberg Press in collaboration with Le Crédac, Kunstmuseum St. Gallen and S.M.A.K.. Robin Watkins was responsible for its design.

The practice of the Swedish artist Nina Canell (b. 1979, Växjö) is based upon an exploration of materials and coincidences. She regards sculpture as a broad concept that also encompasses the space and timespan in which the objects are exhibited. The surroundings determine the temperature, atmosphere and transformation of the objects, just as they in turn shape their surroundings.

For a long time, Nina Canell has been collaborating regularly with the artist Robin Watkins (b. 1980, Stockholm). They work closely together to create sound installations, performances, film projects, exhibitions and books. Watkins also writes texts to accompany Canell’s work.

Practical information

  • Sunday 22 September 2019 – 11 am.
  • Free entry.
  • Please reserve via reservation@smak.be.
  • In English.

in category: Artist Talk

‘Le Pense Bête’ by Marcel Broodthaers
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‘Le Pense Bête’ by Marcel Broodthaers

Conservator Frederika Huys and researcher Joris D’hooghe discuss various aspects of the restoration of ‘Le Pense Bête’ by Marcel Broodthaers.

‘Le Pense Bête’ by Marcel Broodthaers, a work from 1964, was purchased by the Flemish Community in 2006 and given on long-term loan to the S.M.A.K. collection. At the time of purchase, however, the work was in relatively poor condition and underwent a thorough restoration by the then head of conservation and S.M.A.K. restorer, Frederika Huys.*

During the conversation between Frederika Huys and Joris D’hooghe,** the different aspects of the restoration of ‘Le Pense Bête’ will be set against the art historical value of the work and its significance within the artist’s oeuvre.

‘Le Pense Bête’ is widely considered to be one of the most important works within Marcel Broodthaers’ entire oeuvre. This is because it marks the point at which Broodthaers abandoned poetry and decided to become a visual artist. It is Broodthaers’ first work as a (conceptual) visual artist and contains multiple copies of his (poorly sold) poetry collection ‘Le Pense Bête’. By encapsulating these in plaster, he rendered them unreadable but gave them the status of a contemporary sculpture.

Practical information

  • On Sunday 22 September 2019 at 15:00.
  • Reservations can be made via reservation@smak.be.
  • In Dutch.
  • Admission: museum ticket.

More about the Broodthaers Cabinet in S.M.A.K.

* Frederika Huys (b.1973) is owner and senior conservator at The Protocol Room, a studio specializing in the conservation and restoration of contemporary art, founded in 2010. She began her career in 1997 with the research project ‘The Conservation and Restoration of Contemporary Artworks’, which was commissioned by the Flemish Community. From 1998 to 2010 she was head of conservation at the S.M.A.K.

** Joris D’hooghe (b.1982) is associated with the Vrije Universiteit in Brussels where he completed a doctoral thesis on the oeuvre of Marcel Broodthaers. As an art critic, he writes for ‘rekto:verso’, ‘Ons Erfdeel’ and ‘Kunsttijdschrift Vlaanderen’. He has also contributed to the catalogue ‘Carte du monde poétique. Films, works and documents of Marcel Broodthaers’, which was published by the Herbert Foundation in 2015.

Every first Thursday of the month (not in July and August), we stay open until 10 pm. Join us for a talk with Hamady Bocoum and enjoy the concerts by Citadelic Jazz and Kinky Star.

Discover the exhibition ‘The Collection (1), Highlights for a Future' with 200 works from the collection, which can be seen at both S.M.A.K. and MSK in Ghent. We are planning a variety of activities for these evenings:

  • Museum Files - Lecture  by Hamady Bocoum, Director of the Museum of Black Civilizations (MCN) 
  • Jazzconcert Citadelic Jazz 
  • Kinky Star meets collection
    Earlier this year, young people from youth club Kinky Star * visited the exhibition "Highlights for a Future, The collection (I). After their visit, they made a suitable music score as a supplement or in dialogue with an artwork that inspired them. 
    During the nocturne they play this interpretation live at the source of inspiration. You can see this as an extra route that we offer in addition to the five existing routes.

Practical information

  • S.M.A.K. and the Museum of Fine Arts are open until 10 pm.
  • Entrance: museum ticket.
  • Further nocturnes on 5 September 2019.

The Museum of Black Civilizations (MCN) opened its doors in December 2018. In this lecture, museum director Hamady Bocoum explains the history and mission of the museum.

The Museum of Black Civilizations (MCN) opened its doors in December 2018. The museum helps to shape the rapidly evolving African museum landscape and the continent’s ambition to exhibit, preserve and manage its own heritage. In this lecture, museum director Hamady Bocoum explains the history and mission of the museum.

The MCN sprang from the rich artistic and intellectual scene in the Senegalese capital of Dakar. The museum can be considered as the brainchild of Léopold Sédar Senghor, the first president of an independent Senegal and a representative of the Négritude movement that opposed French cultural colonialism. Building on this legacy, the MCN continues to work on the revaluation of ‘black’ culture, identity and historiography and to consider it within the context of a globalised world. By avoiding concepts such as ethnography, anthropology, or subaltern – derived from Western and (post)colonial ideas – in the design of the museum, an essential step was taken in the reconstruction of the collective memory of the African community and its diaspora. The museum prefers to work via a dynamic programme that combines historical objects and the work of contemporary artists, rather than through the management and exhibition of a permanent collection.

Nevertheless, the museum is an important voice in the debate on the restitution or return of illegally acquired objects in museum and private collections outside Africa. It calls for a thorough investigation into the origin of these objects and believes each country has the right to manage its own cultural heritage. It is a position that also resonates in Belgium, which is cautiously beginning to formulate ideas about the restitution of objects acquired during the colonial period in the Congo. A nascent debate to which this lecture aims to make a substantial contribution.

This lecture is part of the public programme around ‘Highlights for a Future: The Collection (I)’. Through this exhibition, S.M.A.K. aims to present different avenues of thought concerning the museum’s future. Given that contemporary museums can no longer function according to a universal concept or simply think along chronological lines, a number of speakers have been invited to discuss alternative museum models.

Practical information

  • Thursday 5 September at 7.30 pm.
  • Subscribe via reservation@smak.be.
  • In French.
  • The museum will be open until 10 pm this evening. 
photo: Jan Opdekamp
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photo: Jan Opdekamp

#smakshouldbebigger | #smakisteklein draws attention to the collection items that remain in storage (around 2452), hidden from a public to see. Our concern is to find a way to permanently present the entire collection in the future.

On the occasion of its 20th anniversary, S.M.A.K. is presenting ‘The Collection (1), Highlights for a Future’. This exhibition includes about 200 works from the collection and, like the opening in 1999, it will occupy the whole museum. In this exhibition, S.M.A.K. wants to look mainly at the present and the future. 

The underlying dimension of the exhibition – as the title suggests – is the need to create a proper building for contemporary art in Ghent so that the collection can be permanently displayed and housed under the best circumstances both in the museum and the reserves. In this sense, this exhibition in the present museum building is a bridge between the past – with the presentation of three works e.a. ‘The Aeromodeller’ by Panamarenko, ‘Wirtschaftswerte’ by Joseph Beuys and ‘Le Décor et son double’ by Daniel Buren in the MSK – and the future; a new, full-fledged accommodation for these ‘highlights’ of the S.M.A.K. collection both old and new. 

Campaign #smakshouldbebigger

For that reason, we created a range of actions to underline this need. More than 2452 artworks remain in storage and we can't put them on display in the museum. We bring the hidden works of art to the shopping windows of Ghent’s merchants, so that anyone who is wandering through Ghent will see large posters of these work of arts. Also, as a resident of Ghent, you can help fulfil that dream of a new museum and hang a poster on your window to support us. You can find more information (in Dutch) and subscribe via this link

And become a member of our association - Friends of SMAK @vriendensmak - and help fulfil that dream of a new museum, so that SMAK will no longer be too small in the future. 

 

 


 

photo: Aline Winters
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photo: Aline Winters
photo: Aline Winters
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photo: Aline Winters
photo: Aline Winters
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photo: Aline Winters

During the ‘Road of Change’ project, fifteen young people spent their spring half-term break travelling along the borders of Europe to meet refugees. 

During a mini-workshop, they collaborated on the creation of personal flags, the results of which can now be seen in the entrance hall of S.M.A.K. The refugees were asked to name three core values that they consider important in life and to associate them with a colour and shape. Afterwards, they composed individual flags using a combination of these colours. Graphic artist Edouard Schneider used the sketches as a starting point for the final designs, which represent universal themes such as love, peace, compassion, family, education and home.

The initiative was organised by Flemish Refugee Action (Vluchtelingenwerk Vlaanderen) and S.M.A.K.

Plan your perfect family outing to S.M.A.K. and MSK!

S.M.A.K. is celebrating its twentieth anniversary this year, which is the perfect moment to discover part of our collection in S.M.A.K. and MSK. Some 200 artworks will transport you into an exciting labyrinth of contemporary art. Iconic works by Francis Bacon, Gerhard Richter, Berlinde De Bruyckere and Panamarenko are interspersed with lesser-known gems by Mekhitar Garabedian, Kathe Burkhart and Hamza Halloubi.

On a sunny day, why not begin your visit with a picnic in the Citadel Park? Then you can cross between the two museums and follow one of our routes (in Dutch).  End the day with a drink on the S.M.A.K.-terrace or enjoy the swings in the nearby playground.

in category: For children

Since March 2019, S.M.A.K. has benefitted from a comprehensive* collection inventory, which comprises seven volumes. 

This richly illustrated publication also includes over 300 texts about the most important artists represented.

Alphabetical entries for each of the 2,000 artworks in the collection fill six of the seven volumes, with an image and basic information for each work.

In addition to photographs, the publication contains over 300 texts about the most important artists in the collection, written by a range of authors over the past five years. The contributors include: Katrien Blanchaert, Jo Coucke, Isabelle De Baets, Marie Decoodt, Ory Dessau, Wouter De Vleeschouwer, Lotte Devoeght, Martin Germann, Julie Verheye and Thibaut Verhoeven.

This six-part volume also contains an accompanying essay section with illuminating contributions on the history and current status of the S.M.A.K. collection, written by Philippe Van Cauteren and Thibaut Verhoeven.

Priced at 499 euros, this is a unique example that can be ordered via a ‘print on demand’ service. For more information or to place an order, please e-mail leen@smak.be

*The integral collection inventory describes all the artworks managed by the S.M.A.K on a permanent basis. It does not include artworks on long-term loan that are unlikely to be acquired for the collection.

image: Olivier Donnet
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image: Olivier Donnet
image: Olivier Donnet
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image: Olivier Donnet
image: Olivier Donnet
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image: Olivier Donnet

This exhibition consists of several models, costumes and props, plus a sneak preview of their film, ‘There is No Planet B!’. 

S.M.A.K. aims to get people moving and actively involve them in contemporary art and the museum. We carry out inspiring projects with a variety of groups. In connection with the exhibition ‘Highlights for a Future’, forty pupils from the ‘Centrum Leren en Werken Gent’ focused on their vision of the future. And is there any medium that would be more suited to this than film?

Taking their inspiration from Urs Pfannenmüller’s artwork ‘Gelaagde Stad’ (1995) (Layered City), which can be seen in ‘Highlights for a Future’, over the course of four days these youngsters shot a low-budget science fiction film in the cycling rink next to the museum together with a number of artists. They built a miniature version of the city of the future which appears as a set in the film. Together with the artists Kobe Wens, Louis van der Waal and Charlien Adriaenssens, they also made costumes and acted out scenes they had conceived themselves. In addition, we interviewed these youngsters about their expectations for the future in the areas of climate, education, sexuality, family, music and media.

This exhibition consists of several models, costumes and props, plus a sneak preview of their film, ‘There is No Planet B!’. The exhibition set-up was designed by Olivier Goethals.

Practical information

  • You can visit the exhibition between 18 July and 18 August 2019.
  • Entrance: museum ticket.

in category: S.M.A.K. Moves Young people

For the 11th and last time, S.M.A.K. presents the travelling exhibition project ‘Verboden boven de 18’ – ‘No-Go Over 18’. Over 50 litho prints are on show, created for a young audience by renowned contemporary Belgian artists. 

‘Verboden boven de 18’ is an initiative by the ‘Muka[1] Studio & Gallery’ from Auckland in New Zealand, which specialises in lithography and was set up by the Flemish couple Magda Van Gils and Frans Baetens. Well-known contemporary artists from every corner of the world have made litho prints specially for a young audience. 16 Belgian artists have also participated over the years. This time, we exhibit three artworks by each of them: Guillaume Bijl, Chantal Chapelle, Jacques Charlier, Leo Copers, Luc Deleu, Michel François, Ann Veronica Janssens, Jus Juchtmans, Johan Tahon, Christophe Terlinden, Luc Tuymans, Sven ’t Jolle, Koen van den Broek, Jan Van Imschoot, Annemie Van Kerckhoven and Joke van Leeuwen.

We are inviting the youthful visitors not only to give their eyes a treat, but also to learn about lithography. About their favourite artwork, we ask them to put into words what it is that most enthrals them and why, and what title they imagine would suit it. What is more, these young viewers can buy one or more artworks at an affordable price. When making a purchase they will not be influenced by adults, but will be guided by a member of the museum staff. To make everything more exciting, the names of the artists will not be mentioned in the exhibition. It is only when the purchased artworks are delivered to the young art collectors by airmail that they will find out who made the work they chose.

As an extra for this final exhibition of ‘Verboden boven de 18’, several large lithos by Belgian artists are being shown. Visitors over 18 are admitted to this section. ‘Muka’ is donating these lithos to S.M.A.K.

Practical information

  • Opening times
    • Saturday 24/8 to Saturday 31/8 (except Monday), from 10 to 6.
    • From Sunday 1/9 to Sunday 29/9 open only on Saturdays and Sundays, from 10 to 6 and on Wednesdays from 1.30 to 5.30.
    • During the last hour of the exhibition, from 5 to 6 pm on Sunday 29/9, those adults who cannot contain their curiosity can also take a look, but sales will already have closed by then.
  • Discussion
    • At 11 am on Sunday 8 September, Philippe Van Cauteren, the artistic director of S.M.A.K., will talk to the initiators Frans Baetens and Magda Van Gils.
[1] ‘Muka’ is a Maori word with the general meaning of ‘everything that brings people together’ and, more specifically, ‘the medium through which a spirit or an idea communicates with people’. Maori is the language of the original inhabitants of New Zealand.

in category: For childrenChildren

Pukkelpop is teaming up with the art industry in order to bring young people in (closer) contact with art and heritage. Under the name ‘ART United’, various art forms will be highlighted at various locations on the festival grounds. The selected artists were not only chosen for but also by youngsters.

The symbiosis between music and art takes centre stage with, among others, Concert in A.I.: The Promethean Promise, a self-learning musical algorithm that knows all music on earth and can operate different instruments without human intervention. You can also look for Hidden Expo, an exhibition with stashed artworks of young artists at unexpected places on the festival grounds. We give you ... MetalYoga: lively exercises to gripping music and mosh pit intermezzo, The Ice Cream Guy tries to seduce you into buying an ice cream that comes with a special price and Cloud 9 is an organic cloud with bulbs and backs, voids and slopes, potholes, peaks and lookouts. The complete ART United programme can be foundhere. 

ART Yard

Last year, the Dôme - the arts portal on the festival site - proved to be a fruitful meeting place for musea and Pukkelpoppers. This year, the Dôme will be replaced by ART Yard, aneven larger site opposite the Main Stage. Visitors can discover art in many different forms and forms throughout the festival site.

PRACTICAL

  • ART United during Pukkelpop
  • From Friday 16 August to Sunday 18 August 2019
  • Area of arts, opposite the Main Stage and at several other locations on the festival grounds.
  • All information via this website

in category: Event - Performance

Image: Kurt Stockman
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Image: Kurt Stockman

In the S.M.A.K. Moves pavilion you can visit the exhibition 'The Borderline Books'. 

Since 2015, S.M.A.K. has been organizing on a regular basis workshops in the prison of Ghent together with the SKI and De Rode Antraciet. These workshops resulted in 'The Borderline Books', a series of art books containing a dialogue in drawings between prisoners of the Ghent prison and students of the SKI (Secondary Art Institute).

In the S.M.A.K. Moves pavilion you can visit the exhibition 'The Borderline Books' and the book 'Prison Drawings' is presented. What does it mean to work with detainees and why is there a need for such projects?

Practical information:

  • From 18 May until 14 July 2019.
  • Admission: museum ticket. 

in category: S.M.A.K. Moves Prisoners

As the final presentation in the 2018-19 Curatorial Lecture series 'Learning from Artists', S.M.A.K. and Curatorial Studies are honoured to welcome Gabi Ngcobo. 

Gabi Ngcobo is an artist, curator and educator living in Johannesburg, South Africa. Since the early 2000s Ngcobo has been engaged in collaborative artistic, curatorial, and educational projects in South Africa and on an international scope. Recently she curated the 10th Berlin Biennale titled 'We don’t need another hero' and was one of the co-curators of the 32nd Sao Paulo Bienal (2016).

She is a founding member of the Johannesburg based collaborative platforms NGO – Nothing Gets Organised (since 2016) and Center for Historical Reenactments (CHR, 2010–14). NGO focusses on processes of self-organization that take place outside of predetermined structures, definitions, contexts, or forms. CHR responded to the demands of the moment through an exploration of how historical legacies impact and resonate within contemporary art. As a member of CHR, she curated PASS-AGES: references & footnotes at the former Pass Office, Johannesburg (2010) and contributed to the project Xenoglossia, a research project (2010-2012), culminating in an exhibition in Johannesburg in 2013.

Other curatorial projects include Mating Birds Vol.2 at the KZNSA Gallery, Durban (2019), A Labour of Love (2015-2017) at the Weltkulturen Museum, Frankfurt and Johannesburg Art Gallery, DON'T/PANIC (2011/12) at the Durban Art Gallery.

Practical information

  • Thursday 13 June 2019 at 7 pm in S.M.A.K. 
  • Free entrance 

Each academic year, S.M.A.K. and Curatorial Studies at KASK-School of Arts, Ghent, co-organise the prestigious Curatorial Lectures series, given by renowned curatorial practitioners in relation to a specific theme. After ‘Working with Artists’ in 2017-18, this year's theme is ‘Learning from Artists’ – the curatorial responsibility of learning from artists, on individual as well as institutional levels.

Anthony Huberman's keynote lecture took place on 14 November 2018, Jean-Hubert Martin's on 16 January 2019, Nicolaus Schafhausen on 19 March 2019.

in category: Artist Talk

Photo by Beto Riginik for Artsy.
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Photo by Beto Riginik for Artsy.

The Moraes-Barbosa collection occupies a special position in the Brazilian artistic landscape. Pedro Barbosa enters into a conversation with Nathalie Zonnenberg* about the way in which a collection can be meaningful from a personal, historical and research perspective.

The purchase of a kinetic artwork by Jesús Rafael Soto in 1999 marked the start of the Moraes-Barbosa collection. This now comprises both conceptual art from the 1960s to the 1980s, including work by Robert Barry, Stanley Brouwn and Cildo Meireles, and works by a younger generation of artists who continue to draw upon this artistic heritage, such as Cameron Rowland, Park McArthur, Ken Okiishi, Iman Issa and Mario Garcia Torres. As part of the collection process, the attention gradually shifted from the objet d’art to more ephemeral forms and documents, or what the owner describes as ‘dematerialised art’. The collection also includes an impressive archive of invitation cards, rare art magazines, posters, artists’ books, catalogues and recordings, both audio and video, all of which provide insight into the artistic oeuvres. With ambition, passion and precision, the exchange of ideas and relationships is encouraged. The collection is the catalyst for a number of other initiatives, such as a residence programme for artists and curators.

Practical information

  • Sunday 16 June 2019 at 3 pm
  • In English
  • Subscribe via reservation@smak.be.
  • Free entry with a museum ticket. This gives admission to multiple lectures, or why not become a friend of the S.M.A.K. and visit the museum as often as you like? 

* Nathalie Zonnenberg is an art historian and curator. Her doctoral research, Conceptual Art in a Curatorial Perspective: Between Dematerialization and Documentation, has just been published by Valiz. The publication highlights the challenges that conceptual artworks can pose to an exhibition practice as a result of their non-object-based character. Nathalie Zonnenberg teaches at the Open University in Heerlen and on the Curatorial Studies programme at the KASK/School of Arts, part of HoGent, and has organised exhibitions for Witte de With, Rotterdam, the Kröller-Müller Museum, Otterlo, and the Stedelijk Museum Bureau, Amsterdam, among others.

in category: Collection

Joëlle Tuerlinckx 1/MUSÉE 1999–2016 Bluestone, chalk, fixative / Blauwsteen, krijt, fixatief 30 x 30 x 2 cm Foto: Thomas Min
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Joëlle Tuerlinckx 1/MUSÉE 1999–2016 Bluestone, chalk, fixative / Blauwsteen, krijt, fixatief 30 x 30 x 2 cm Foto: Thomas Min
Joëlle Tuerlinckx 1/MUSÉE 1999–2016 Bluestone, chalk, fixative / Blauwsteen, krijt, fixatief 30 x 30 x 2 cm Foto: Thomas Min
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Joëlle Tuerlinckx 1/MUSÉE 1999–2016 Bluestone, chalk, fixative / Blauwsteen, krijt, fixatief 30 x 30 x 2 cm Foto: Thomas Min

In 2016, the curator of the Bonnefantenmuseum in Maastricht, Paula van den Bosch, invited the collective artist gerlach en koop to create an exhibition with the collection. It was entitled ‘:’. 

During this presentation, this project will be explored via contributions from the artist, art critic Koen Brams and curator Paula van den Bosch. The exhibition publication will be launched at the same time.

gerlach en koop propose the idea of a museum collection that curates itself, despite keen efforts of consecutive curators (including the invited artists themselves) to curate the collection and consecutive directors to direct it. The eccentric impression left behind—eccentric in the true sense of the word as ‘out of center’—can be explained by the simple fact that the collection hadn’t been shown like this before, almost unmasked.

The oeuvre catalogue cubics by architects and designers Jan Slothouber and William Graatsma from 1970 was taken as an example, such that it served as support for the artworks in print, just like their cubic system of blocks supported the artworks on display in the exhibition. The publication contains a long interview with the artists by a ghosted ghostwriter, in Dutch and English. Design by Charles Mazé and Coline Sunier in close collaboration with gerlach en koop. All exhibited artworks are included in this publication, works by Francis Alÿs, Dan Asher, Joseph Beuys, Marcel Broodthaers, Pieter Brueghel, Ben d’Armagnac, Bethan Huws, Oscar Jespers, Richard Serra, Marijn van Kreij, Agnes Martin, Willem de Rooij, Lily van der Stokker, Joëlle Tuerlinckx, Franz West and many others, plus several anonymous objects of different provenances and different times.

Practical information

gerlach en koop wonen en werken in Brussel en Den Haag. De collectieve kunstenaar had solotentoonstellingen in onder andere Bonnefantenmuseum, Maastricht (2016); Temporary Gallery, Keulen (2016); de Appel, Amsterdam (2015); Kröller-Müller Museum, Otterlo (2008); en Van Abbemuseum, Eindhoven (2004). Het collectief werd geselecteerd voor de 12e Baltic Triennial, Vilnius, Litouwen and Kraków, Polen (2015), alsook voor andere groepstentoonstellingen waaronder Zerynthia, Sassari, Italië (2018); de Appel, Amsterdam (2014, 2010); Mu.ZEE, Oostende (2013); Stroom Den Haag (2013); Vleeshal, Middelburg (2012); Hammer Museum, Los Angeles (2018); Kunstverein, Amsterdam (2016); La Criée, Rennes, Frankrijk (2017/2018); S.M.A.K., Gent (2009) and GAK Bremen (2019)Zondag 16 juni 2019 om 11:0

in category: Artist TalkCollection

Every first Thursday of the month, we stay open until 9 pm. Join us for a talk and enjoy a concert by Citadelic Jazz. 

Discover the exhibition ‘The Collection (1), Highlights for a Future' with 200 works from the collection, which can be seen at both S.M.A.K. and MSK in Ghent. We are planning a variety of activities for these evenings:

Jazzconcert Citadelic Jazz met Ruben Machtelinckx

Ruben Machtelinckx is one of Belgium's finest contemporary musicians. In a short period of time he has become a respected composer and guitar player with a very own sound.

"Especially recommended to banjo fans looking for something different, but there's plenty of minimalist atmosphere for people who didn't even know they liked the banjo." **** All About Jazz

Book presentation & Talkshow Prison Drawings

Since 2015, S.M.A.K. has been organizing on a regular basis workshops in the prison of Ghent together with the SKI and De Rode Antraciet. These workshops resulted in 'The Borderline Books', a series of art books containing a dialogue in drawings between prisoners of the Ghent prison and students of the SKI (Secondary Art Institute). In the S.M.A.K. Moves pavilion you can visit the exhibition 'The Borderline Books' and the book 'Prison Drawings' is presented. What does it mean to work with detainees and why is there a need for such projects?

Practical information

  • Both museums are open until 9 pm.
  • Entrance: museum ticket.
  • Further nocturnes on 5 September 2019.

in category: Event - Performance

‘TILL IT’S OVER’ is a cross-disciplinary collaboration between the SKaGeN theatre collective and the American visual artist Richard Jackson on the theme of civil war, tenderness and revenge.

Richard Jackson has created an installation based on Picasso’s famous war painting ‘Guernica’. Actors Valentijn Dhaenens and Clara van den Broek create a theatrical performance based on the same theme. How do two people deal with the consequences of extreme violence, and what is the lasting impact once time has done its work? Can violence bring us closer together? Do we delve more deeply into one another and achieve connection despite (or even because of) the violence that we inflict upon one another? Does violence create intimacy?

Action painter Richard Jackson’s installations often express a consequence: what remains visible after a powerful physical action? As performers, Dhaenens and van den Broek open themselves to Jackson’s work and to the context that he creates. 

Practical information

  • Floraliën Hall at S.M.A.K.
  • 2 June 2019 at 2 pm.
  • 17 to 29 September 2019 inclusive, performance at various times, not on Mondays.
  • SKaGeN website
  • Click here to buy tickets. 

‘TILL IT’S OVER’ is a collaboration between SKaGeN, Richard Jackson, S.M.A.K. Ghent, C-Mine Genk, the Royal Academy of Fine Art Antwerp and DE Studio / Villanella.  

Concept and performance: Valentijn Dhaenens and Clara van den Broek 
Visual art: Richard Jackson
Movement direction: Charlotte Vanden Eynde
Costume design: Barbara De Laere
Sound and technical direction: Jeroen Wuyts
Production leadership: Karen Van Peel
Financial and administrative leadership: Korneel Hamers
Production: SKaGeN in collaboration with Villanella/DEStudio

Co-production: SMAK, C-TAKT, KASKA

With the support of the Flemish Community
With thanks to Latze Dieye, Matar Diouf, Patrick Da Silva Rosa, Louise Goegebeur, Joris Goorden, and the Villanella crew

 

in category: Event - Performance

The exhibition The Collection (1), Highlights for a Future is the occasion for a series of conversations about the strongly changing role of museums within communities. In this talk show, attention is paid to our collaborations with refugees.


The museum as a public space for every individual is achieved, among other things, by involving people and artists with a refugee background. S.M.A.K. tries in various ways to show solidarity with this vulnerable group and cooperates with various partners such as vzw Humain, Globe Aroma and Vluchtelingenwerk Vlaanderen. We enter into discussions with various partners.

Practical information:

  • Wednesday 19 June 2019 -  4 pm
  • Admission: museum ticket. Reservation via reservation@smak.be
  • In Dutch

S.M.A.K. Moves - Talk shows

The exhibition The Collection (1), Highlights for a Future is the occasion for a series of conversations about the strongly changing role of museums within communities. Whereas in the past museums mainly worked from an art-historical perspective, attention is now shifting to social relevance and the role that the public plays in this.

In five talk shows, Katleen Vermeulen (Amarant) receives various partners from the S.M.A.K. Moves programme, the educational and guide activities. This includes, among other things, the structural effect of S.M.A.K. on projects with prisoners, refugees, people with dementia, young people and children. The talk shows start at 16:00. With the exception of the talk show ‘Prison Drawings’ during the nocturn of Thursday 6 June at 20:00.

  • 22 May 2019 - Education
  • 29 May 2019 - Projects with young people
  • 6 June 2019 - Prison Drawings - exceptionnaly at 20:00
  • 19 June 2019 - Refugees
  • 18 September 2019 - Dementia DEMO MEMO

in category: S.M.A.K. Moves Refugees

The exhibition 'The Collection (1), Highlights for a Future' is the occasion for a series of conversations about the strongly changing role of museums within communities. This talk show pays attention to youth work.
 

S.M.A.K. makes efforts to involve young people in the exhibitions, especially those who normally never come into contact with art and museums. Creative workshops enable them to discover new interests and develop their talents. In partnership with a variety of schools, such as the Centrum Leren en Werken in Ghent, a range of projects have been created in recent years, for example ‘Paintshop’ and ‘Shadowlife’. How can you help young people connect with contemporary art via their own lived experiences?

Information

  • Wednesday 29 May 2019 at 4 pm. 
  • Admission: museum ticket. Reservation via reservation@smak.be
  • In Dutch

S.M.A.K. Moves - Talk shows

The exhibition The Collection (1), Highlights for a Future is the occasion for a series of conversations about the strongly changing role of museums within communities. Whereas in the past museums mainly worked from an art-historical perspective, attention is now shifting to social relevance and the role that the public plays in this.

In five talk shows, Katleen Vermeulen (Amarant) receives various partners from the S.M.A.K. Moves programme, the educational and guide activities. This includes, among other things, the structural effect of S.M.A.K. on projects with prisoners, refugees, people with dementia, young people and children. The talk shows start at 16:00. With the exception of the talk show ‘Prison Drawings’ during the nocturn of Thursday 6 June at 20:00.



 

in category: S.M.A.K. Moves

The exhibition 'The Collection (1), Highlights for a Future' is the occasion for a series of conversations about the strongly changing role of museums within communities. This talk show pays attention to projects with prisoners.


Since 2015, S.M.A.K. has been organizing on a regular basis workshops in the prison of Ghent together with the SKI and De Rode Antraciet. These workshops resulted in 'The Borderline Books', a series of art books containing a dialogue in drawings between prisoners of the Ghent prison and students of the SKI (Secondary Art Institute).

In the S.M.A.K. Moves pavilion you can visit the exhibition 'The Borderline Books' and the book 'Prison Drawings' is presented. What does it mean to work with detainees and why is there a need for such projects?

Practical information:

  • Thursday 6 June 2019 at 8 pm
  • Admission: museum ticket. Reservation via reservation@smak.be
  • In Dutch.

S.M.A.K. Moves - Talk shows

The exhibition 'The Collection (1), Highlights for a Future' is the occasion for a series of conversations about the strongly changing role of museums within communities. Whereas in the past museums mainly worked from an art-historical perspective, attention is now shifting to social relevance and the role that the public plays in this.

In five talk shows, Katleen Vermeulen (Amarant) receives various partners from the S.M.A.K. Moves programme, the educational and guide activities. This includes, among other things, the structural effect of S.M.A.K. on projects with prisoners, refugees, people with dementia, young people and children. The talk shows start at 16:00. With the exception of the talk show ‘Prison Drawings’ during the nocturne of Thursday 6 June at 20:00.

  • 22 May 2019 - Education
  • 29 May 2019 - Projects with young people
  • 6 June 2019 - Prison Drawings - exceptionnaly at 20:00
  • 19 June 2019 - Refugees
  • 18 September 2019 - Dementia DEMO MEMO

in category: S.M.A.K. Moves Prisoners

The exhibition 'The Collection (1), Highlights for a Future' is the occasion for a series of conversations about the strongly changing role of museums within communities. In this talk show, attention is paid to persons with dementia.


S.M.A.K. regularly organizes meetings for people with dementia in collaboration with The Courage To Grow Old. This way people with dementia, together with their partner or caregiver can visit S.M.A.K. in a very casual way. This visit stimulates multiple senses: there is music, people watch, listen, talk… We engage in conversation with Bie Hinnekint, the driving force behind Demo Memo and Gudrun from 'het Ventiel', a buddy operation for people with young dementia.

Information

  • Wednesday 29 May 2019 - 16:00.
  • Admission: museum ticket. Reservation via reservation@smak.be
  • In Dutch

S.M.A.K. Moves - Talk shows


The exhibition 'The Collection (1), Highlights for a Future' is the occasion for a series of discussions about the strongly changing role of museums within communities. Whereas in the past museums mainly worked from an art-historical perspective, attention is now shifting to social relevance and the role that the public plays in this. The museum also takes on new tasks: it actively seeks to connect with society and at times moves towards socio-cultural work. Katleen Vermeulen (Amarant) receives various partners of the S.M.A.K. Moves programme, the educational and guide work, in five talk shows. This includes, among other things, the structural effect of S.M.A.K. on projects with prisoners, refugees, people with dementia, young people and children.
 

in category: S.M.A.K. Moves

Performances, concerts, workshops and interventions to mark 20 years of S.M.A.K. on Saturday 18 May and Sunday 19 May 2019.

To celebrate its twentieth anniversary, S.M.A.K. and MSK are inviting artists, musicians, poets, dancers, writers and societies, etc. to contribute to today’s museum and to formulate suggestions for the museum of tomorrow.

Over the course of the weekend, an unusual programme will unfold. Direct, short, long, silent and loud interventions will follow on from one another in a continuous and logic-defying stream. Although widely divergent, none of these moments will lose sight of the museum and the collection. All of this takes place inside and outside S.M.A.K., MSK and the Floraliënhal.

We are offering a wide range of activities for children. There is also the possibility to eat and drink something in the museum cafés and in the Floraliën Hall.. 

Practical information

With 019: Klaas Rommelaere, action zoo humain, Angel Vergara, Apparatus 22, Bart Stolle, Ben Benaouisse, Benjamin Verdonck, buren, cinemaximiliaan, De Propere Fanfare van de Vieze Gasten, Dirk Veulemans, Els Moors & Miriam Rohde, Friends of S.M.A.K.: Evelyn Taocheng Wang, Eva Luna Moons – Petra Pucekova – Marthe Thys – Nicolas Van Laere, Filip Rathé, Fluwelen Koord, G A U S S, Grace Ndiritu, Guillaume Bijl, Guy Woueté, Hannah Mevis, honoré d’O, Inge Braeckman, Ištvan Išt Huzjan, Joris Van de Moortel & SPECTRA Ensemble o.l.v. Filip Rathé en i.s.m. Thomas de Prins, Kristof Van Gestel & Gezeever, Laura Nsengiyumva & Joachim Ben Yakoub, Les Brasseurs: Armand Lestard - Baptiste Brunello & Aurélie William Levaux - Eric Therer / Quelques piétons - Evelin Brosi & Elvis Bonier - Messieurs Delmotte, Loek Grootjans, Maarten Inghels, Mama’s Open Mic, Maria Degrève / Lieve D’hondt, Marie Julia Bollansée, Mauro Pawlowski, Lien Van Ranst, Lieselotte Vloeberghs, Mais Quelle Chanson, Michiel Alberts, Monday Wilkinson, Pierre Muylle, Platform-K en Break-out, Robbert & Frank Frank & Robbert, Roel Heremans, Ruben Nachtergaele, Shervin Kianersi Haghighi & Christian Hansen, SPECTRA Ensemble, Stefaan Dheedene, The Valerie Solana’s, Teun Verbruggen & Andrew Claes, Vedran Kopljar, Young Friends of S.M.A.K.: buren.

Workshops & activities by S.M.A.K., BILL, Ciné Martiko, CIRQ, Everblock Systems, Jeugd & Poëzie, MishMash, MSK Educatie, MSK Schoonvolk, Ruben Nachtergaele, S.M.A.K. Gouden Gidsen, S.M.A.K. restauratieteam, Stad Gent jeugdanimatoren and Topo Copy.

The exhibition 'The Collection (1), Highlights for a Future' is the occasion for a series of conversations about the strongly changing role of museums within communities. In this talk show, attention is paid to education.
 

Personal accounts from the educational field about how to work with pupils in the museum. An immersion in contemporary art is no longer seen as a guide’s task, but an effort is being made to create a motoric moment in a cultural learning pathway.

S.M.A.K. Moves - Talk shows

The exhibition The Collection (1), Highlights for a Future is the occasion for a series of conversations about the strongly changing role of museums within communities. Whereas in the past museums mainly worked from an art-historical perspective, attention is now shifting to social relevance and the role that the public plays in this.

In five talk shows, Katleen Vermeulen (Amarant) receives various partners from the S.M.A.K. Moves programme, the educational and guide activities. This includes, among other things, the structural effect of S.M.A.K. on projects with prisoners, refugees, people with dementia, young people and children. The talk shows start at 16:00. With the exception of the talk show ‘Prison Drawings’ during the nocturne of Thursday 6 June at 20:00.

  • 22 May 2019 - Education
  • ​29 May 2019 - Projects with young people
  • 6 June 2019 - Prison Drawings - exceptionnaly at 20:00
  • 19 June 2019 - Refugees
  • 18 September 2019 - Dementia DEMO MEMO

Sunday 19 May 2019 is the start of 'The Borderline Books', the second exhibition at the S.M.A.K. Beweegt pavilion. The exhibition provides an insight into the perception of the residents of the prison in Ghent and of the young up-and-coming artists of the Secondary Art Institute (SKI).


The starting point of the project was to bring prisoners from the Ghent prison and students from SKI into contact with each other by drawing. The carrier for this dialogue was 25 empty sketchbooks. Small groups of pupils, together with some of their teachers, visited the prison every four weeks and invited the detainees to draw with them in the books.

Approximately sixteen people could attend each workshop. Half of the books remained in the prison library in between workshops so that those who were interested could continue to draw in their cell. The other half of the books went back to the school. The question for the draughtsmen was to respond to each other's drawings. In this way a visual exchange took place between the participants in the books; a colorful dialogue in drawings.

'The Borderline Books' is a collaboration between S.M.A.K., the Secondary Art Institute, De Rode Antraciet and the prison of Ghent. Winnie Bauwens recorded this special collaboration and made a short documentary that will also be shown during the exhibition.

Practical information:

  • Opening exhibition 'The Borderline Books' on Sunday 19 May 2019 at 11 am.
  • The exhibition runs from 18 May to 14 July 2019.
  • The book presentation 'Prison Drawings' takes place on Thursday 6 June 2019 at 20:00 (during the nocturne).

After Light Sensitivity, this exhibition is the second exhibition in the S.M.A.K. Beweegt pavilion that was designed by Olivier Goethals.

BOEK PRISON DRAWINGS 

In collaboration with publishing house Hannibal, a selection of the drawings was bundled in the book 'Prison Drawings'. This book will be presented on 6 June 2019 during the nocturne.
The book shows an enormous diversity of impressions, impulses, styles and themes. It is also the impressive result of the thirty-two workshops that have been organized and to which almost five hundred people have taken part.
 

in category: S.M.A.K. Moves

foto: Fred Debrock
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foto: Fred Debrock

Richard Jackson, Valentijn Dhaenens and Clara van den Broek enter into dialogue about the creation process. Moderated by theater critic Els van Steenberghe.


In recent months, an intense dialogue has developed between visual artist Richard Jackson and the theater collective SKaGen. This resulted in 'Till it's over', a depiction of civil war, tenderness and vengeance.


Excerpt from a rehearsal process (January 16, 2019):

[…] We are currently investigating images of, and entrances to, the given civil war. This time we would like to work without text. We are curious about the impact that this method can have on our sensitivity. Perhaps we can get closer to empathy with our bodies. The body is naive, cannot lie. […]

In the meantime, we talk to Richard Jackson every day. We send him messages while he is sleeping, he is busy while we are resting. We sometimes meet in what is late afternoon for us. Then we exchange ideas, experiences, and sensitivities. Richard always comes up surprisingly. His imagination challenges us. We send him images that keep us busy: piles of clothes from the Rwandan civil war, an abandoned child with a bag of hugs in Aleppo, a group of researchers in isolating white suits (they visit a disaster area, their suits suggest they don't want to damage the destroyed site and that they want to protect themselves - protect against what?).

Richard reacts imaginatively and with a lot of humor. He talks about a cartoonish bomb that causes a paint explosion. We browse through his oeuvre full of playful violence, or violent playfulness. Richard sent the message last night that he is looking at images of Picasso's Guernica. He relates to the history of his discipline.

he softness of our communication reflects the tenderness with which we want to start this theme. Tenderness is one of our entry points to the violence that we do not fully understand. The need for tenderness is contained in a tender gesture. Where does this need come from? What in our bodies is hungry, wants to be comforted? How is our hand empty and does it want to bridge a gap in the caress? […]

Practical information:

  • Sunday 26 May 2019 at 4 pm
  • In English
  • Reservation is possible via reservation@smak.be
  • Access is free for those who attended the performance and with a museum ticket. A conference card gives access to several conferences or become a Friend of S.M.A.K. and visit the museum as often as you like.

in category: Artist Talk

‘Poortenbos 2’: a new suite for a saxophone quartet and an automatic DECAP accordion.

Thirty years on from ‘Poortenbos’, Eric Sleichim’s first major composition for a saxophone quartet, and which was commissioned by Jan Hoet, he has collaborated with BL!NDMAN [sax] to create ‘Poortenbos 2’: a new suite for a saxophone quartet and an automatic DECAP accordion.

During the exhibition ‘The Collection (1) | Highlights of a Future’, BL!NDMAN will utilise the concrete space in which the exhibition is being staged, thereby transforming every nook and cranny of the building into a potential stage.

Five saxophonists (soprano, alto, tenor, baritone sax and tubax) are dispersed around the building, each of whom enters into a unique dialogue with its electronic shadow. The musicians  are confronted with delayed sound or enter into a conversation with samples. After a while, the tenor sax mimics its self-generated electronic sounds: the original becomes the shadow of the shadow. The tubax then seems to pass through the rapid build-up of sounds, while the baritone sax can only summon up pre-recorded sounds by means of organ pedals.  

Practical information

  • Sunday 12 May 2019 at 4 pm in the museum, first floor.

Eric Sleichim > artistic director and composor
BL!NDMAN [sax]
Koen Maas > soprano saxophone and electronica
Pieter Pellens > soprano and alto saxophone and electronica
Piet Rebel > tenor saxophone and electronica
Raf Minten > baritone saxophone and electronica
Eric Sleichim > tubax, electronica and automatic Decap accordion


A co-production with SMAK Ghent, the TRANSIT Festival for new music and the Festival van Vlaanderen, Kortrijk in collaboration with Decap Organs





 

in category: Event - Performance

Joachim Koester To Navigate, in a Genuine Way, in the Unknown Necessitates an Attitude of Daring, but not One of Recklessness (Movements Gen
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Joachim Koester To Navigate, in a Genuine Way, in the Unknown Necessitates an Attitude of Daring, but not One of Recklessness (Movements Gen

The video work ‘To Navigate, in a Genuine Way, in the Unknown Necessitates an Attitude of Daring, but not One of Recklessness (Movements Generated from the Magical Passes of Carlos Castaneda)’ (2009) is currently part of the exhibition ‘The Collection (1), Highlights for a Future’. On this occasion the artist will give a lecture performance entitled ‘Bringing Something Back’.

A complex web of documentary and fiction forms the basis for the photo series, installations and films of Joachim Koester (b. 1962, Copenhagen). His work examines established and current ideas that have been passed down through history and makes them available for possible rewriting. Tracking along the boundary of the unknown is a constant in his oeuvre. He thereby pays particular attention to the human body, body language and performance; the occult, the covert and the immeasurable; and the human spirit and mind-broadening experiments. Thus the figure of the artist also gets caught up in sometimes far-reaching analogies with the explorer, the mystic and the charlatan. In 2012, the comprehensive solo exhibition ‘Maybe One Must Begin with some Particular Places’ was staged at S.M.A.K.

Practical details:

  • Sunday 5 May 2019 at 2 pm. 
  • In English.

in category: Artist Talk

In 2017, Wiels, the Centre for Contemporary Art in Brussels, organised the exhibition ‘The Absent Museum, blueprint for a museum of contemporary art for the capital of Europe’. In this lecture, director Dirk Snauwaert immerses himself in various aspects of the exhibition.

Amongst other things, the exhibition shone a spotlight on the diverse social commitments of the artworks on display, with a focus on contemporary and historical emancipation movements, identity-building processes, colonialism and unprocessed experiences from our history. By alluding to the lack of a Museum of Contemporary Art in Brussels, ‘The Absent Museum’ also initiated a reflection on what the role of this museum could be in these debates. Dirk Snauwaert* looks at the exhibition in greater depth. 

Practical details:

  • Thursday 2 May 2019 at 8 pm.
  • In Dutch.

* Since 2004, Dirk Snauwaert (b. 1964, Tielt) has been the director of WIELS, the Centre for Contemporary Art in Brussels. Prior to this he was Co-Director of the IAC (Institut d’Art Contemporain) in Villeurbanne-Lyon, Director of the Kunstverein München and Contemporary Art Programming Manager for the Exhibitions Association at the Centre for Fine Arts in Brussels. For the Belgian Pavilion at the 53rd Venice Biennale, he collaborated with the artist Jef Geys; and he assembled ‘Atopolis’ as part of Mons Cultural Capital of Europe 2015. His recent projects include ‘The Absent Museum, blueprint for a museum of contemporary art for the capital of Europe’ (2017) and ‘Unexchangeable’ (2018).

Sophie Nys, Ein Tisch ohne Brot ist ein Brett, Crac, Alsace, 2015. Foto: Aurélien Mole
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Sophie Nys, Ein Tisch ohne Brot ist ein Brett, Crac, Alsace, 2015. Foto: Aurélien Mole

The work ‘Fort Patti II’ by Sophie Nys is being shown in Belgium for the first time as part of the exhibition ‘The Collection (1), Highlights for a Future’.

Sophie Nys (b. 1974, Borgerhout) brings together a variety of media, often with a specific form of humour, which explore particular themes, and forgotten or overlooked events from historical and social contexts, amongst other things. In her practice, objects and images are transformed and relocated with minimal interference and limited resources. She thereby asks questions about cause and effect, transience and continuity; and wishes to open up new spaces for reflection, narrative and resistance. The work ‘Fort Patti II’ also has its origins in an amalgamation of historical details, and links these to contemporary expressions of social struggle, economic and political imperialism and militarism.  

Practical details:

  • Sunday 5 May 2019 at 11 am.
  • In Dutch.

in category: Artist Talk

Restauratie-case Aeromodellor
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Restauratie-case Aeromodellor
Panamarenko The Aeromodeller 1969–1971 Dirk Pauwels
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Panamarenko The Aeromodeller 1969–1971 Dirk Pauwels

Panamarenko’s ‘The Aeromodeller’ was purchased by S.M.A.K. in 1980, when it was shown as part of the exhibition ‘Art in Europe after ‘68’. It is one of the most iconic works in the museum’s collection. In 2004, the work underwent a large-scale restoration under the direction of Frederika Huys, S.M.A.K.’s restorer and then Head of Conservation.

In this discussion between Huys* and Jo Coucke** (art historian and curator) the various aspects of the restoration of this work are measured against the art historical and substantive value within Panamarenko’s oeuvre.

Practical details

  • Wednesday 8 May at 6 pm.
  • In the MSK auditorium. Entrance via the museum, Scribedreef 1, 9000 Ghent. Doors close at 6.15 pm.
  • In Dutch.
  • Entry is free of charge.
  • The S.M.A.K. works on display at the MSK can be visited by lecture attendees from 5.30 pm to 6 pm. The doors on Scribedreef will close at 6.15 pm. Exit via Hofbouwlaan.
  • Reservations via msk.educatie@stad.gent

* Frederika Huys (b. 1973) is the owner of and Senior Conservator at The Protocol Room, a studio that specialises in the conservation and restoration of contemporary art, which was founded in 2010. She began her career in 1997 with the research project ‘The Conservation and Restoration of Contemporary Artworks’, which was commissioned by the Flemish Community. From 1998 to 2010 she was head of conservation at S.M.A.K.

** Jo Coucke (b. 1955) is a freelance art historian and curator. He writes and lectures on international contemporary visual art, creates exhibitions and is a member of the Belgian Association of Art Critics. In the 1980s, he was Research Assistant to Jan Hoet at the Museum of Contemporary Art in Ghent, now S.M.A.K. From 1986 to 2016, he was responsible for art historical work at the Deweer Gallery in Otegem, Panamarenko’s gallery, where he developed a longstanding working relationship with the artist.

‘Wirtschaftswerte’ by Joseph Beuys - image by Dirk Pauwels, MSK 2019
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‘Wirtschaftswerte’ by Joseph Beuys - image by Dirk Pauwels, MSK 2019

‘Wirtschaftswerte’ by Joseph Beuys was acquired by S.M.A.K. in 1980, when it was shown in the exhibition ‘Art in Europe after ‘68’. It has been one of the key works in the museum’s collection ever since. was acquired by S.M.A.K. in 1980, when it was shown in the exhibition ‘Art in Europe after ‘68’. It has been one of the key works in the museum’s collection ever since.

As the work was largely constructed from transient materials, it requires constant maintenance by S.M.A.K.’s restoration team. In this discussion between Rebecca Heremans* (Conservator at S.M.A.K.) and Nav Haq** (Senior Curator at Muhka) the technical aspects of preservation, management and restoration are linked to the substantive and art historical value of Joseph Beuys’ oeuvre.

Practical details:

  • Wednesday 24 April at 6 pm.
  • Entry is free of charge.
  • Auditorium MSK. Entrance through the museum, Scribedreef 1, 9000 Ghent. Doors close at 6.15 pm.
  • Reservations via msk.educatie@stad.gent
  • In English.
  • The S.M.A.K. works on display at the MSK can be visited by lecture attendees from 5.30 pm to 6 pm. The doors on Scribedreef will close at 6.15 pm. Exit via Hofbouwlaan.

*Rebecca Heremans (b. 1989) studied the curation and conservation of photographic objects, and since 2012 has been working as a paper conservator at S.M.A.K. Since 2014, Heremans has been carrying out research into the ‘Wirtschaftswerte’, and she is trying to devise guidelines for dealing with this work as appropriately as possible in the future.

**Nav Haq (b. 1976) is Senior Curator at Muhka. He was previously Exhibition Curator at the Arnolfini in Bristol and Curator of Gasworks, London. Haq has already curated various solo exhibitions of artists including Jos De Gruyter & Harald Thys, Cosima von Bonin, Shilpa Gupta and Otobong Nkanga. In 2017, he curated the exhibition ‘Joseph Beuys – Greetings from the Eurasian’, in which he explored both Beuys’ activities in 1960s and 1970s Antwerp, and his relevance to a new generation of artists and art historians.  

Kader Attia, Untitled, repaired fabric from Algeria, Senegal and Mali, 2017
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Kader Attia, Untitled, repaired fabric from Algeria, Senegal and Mali, 2017

The work ‘Scarification, Self Skin’s Architecture’ by Kader Attia is an artistic exploration of cultural practices in the West, Africa and Asia, and is on display in ‘The Collection (1), Highlights for a Future’. Writer and art historian Ana Teixeira Pinto* devotes a lecture to the work of Kader Attia.

For the solo exhibition ‘Repairing the Invisible’ in 2017, Kader Attia (b. 1970, Dugny) showed part of his personal collection of fabrics for the first time, which he had amassed during his many journeys to Africa. All have been hand-mended, with the repairs left clearly visible. Where Western cultures always refer to the original with a repair, non-Western cultures attach as much importance to the mend as to the wound itself. The damaged is exposed and appropriated, before ultimately becoming part of a new identity. These observations underpin Kader Attia’s notion of ‘repair’, which delves into the treatment of individual or collective experiences of trauma and recovery in our globalised society.

Practical details:

  • Sunday 14 April 2019 at 4 pm.
  • In English.

*Ana Teixeira Pinto is a tutor at the Universität der Künste Berlin, and a researcher at Leuphana Universität, Lüneburg. Her work has recently been published in ‘Alleys of Your Mind: Augmented Intelligence and Its Traumas’ (2015) and ‘Neröse Systeme’ (2016). She regularly writes for e-flux journal, art-agenda, Mousse, Frieze/de, Domus and Texte zur Kunst.

Writer and cultural theorist Ana Teixeira Pinto devotes a lecture to the work of Kader Attia, his personal collection and the way in which this perpetually challenges a museum practice that is focused on the management and conservation of cultural forms.

in category: Collection

Jac Leirner, Corpus Delicti, mixed media, 1987-1992
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Jac Leirner, Corpus Delicti, mixed media, 1987-1992

The work ‘Corpus Deliciti’ by Jac Leirner is currently on display at the museum in the collection exhibition. In an artist talk, we take a closer look at this artist’s oeuvre.

Since the mid 1980s, the Brazilian artist Jac Leirner (b. 1961, São Paulo) has been working on a subtle analysis of systems of social representation. In her work, the artist collects industrially produced and everyday objects from her immediate environment. She combines these in new configurations that explore notions such as repetition, obsession, addiction and value. The aesthetic of her collages, installations and sculptures thereby responds to the socio-cultural layers of meaning inherent in the objects. In 2019, Jac Leirner will be receiving the renowned Wolfgang Hahn Prize, which goes hand in hand with a solo exhibition at the Museum Ludwig in Cologne.

The work ‘Corpus Deliciti’ (1987-1992) which is currently on display at the museum, is the product of her burgeoning international career in the early 1990s and consists of objects such as headphones, serviettes, luggage labels, boarding passes and aeroplane ashtrays (which have since become obsolete). In this discussion, the artist looks in greater depth at the meaning of these processes of accumulation, and at collecting as an artistic methodology.

Practical details:

  • Sunday 14 April 2019 at 11 am.
  • In English.
  • Become a Friend of S.M.A.K., visit the museum as often as you like and enjoy numerous benefits.

in category: Collection

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Photo: Daniel Buren during the preparations for the catalogue of 'Chambres d'Amis', Ghent, 186 (Photo: Annick Herbert)

Angela M. Bartholomew will give a talk about 'Chambres d'Amis' (1986) and Daniel Buren's remarkable contribution to this exhibition with the work 'Le Décor et son Double'. Prior to the talk, Philippe Van Cauteren, artistic director of S.M.A.K., will give an introduction.

Few exhibitions from the 1980s reveal the conflicting agendas of exhibition maker and artist so vividly as Chambres d’amis (Jan Hoet, 1986). With installations in private homes spread throughout the city of Ghent, the stated intent of Chambres d’amis was to free art from the museum, to blur public with private, and to enable unexpected confrontations between art and life. But in the context of Belgium in the mid-1980s, it was also intended to strengthen the position of the Museum van Hedendaagse Kunst. 

Several of the artists associated with the exhibition, Daniel Buren in particular, had established practices in the late 1960s and 1970s that examined the conditioning of experience through the ideological frames of art’s institutions. Seeing the motives underlying the show, Buren asserted that Chambres d’amiswas, “no more than an exploitation, if not in fact a recuperation of strategies, used by many artists of that generation.”

In this talk, art historian Angela Bartholomew* will consider how Buren’s two-part work Le Décor et son Double performed a critique of the canonical exhibition by making it clear that the sites of installation – private spaces – were not independent of the museum, but were being strategically occupied by it.

After the talk, the private part of the work of Daniel Buren, Le Décor et son Double is open for a visit.

 
PRACTICAL DETAILS

  • Sunday 7 april - 2 pm
  • Location: Herbert Foundation, Raas van Gaverestraat 108
  • The admission is 15 euro (8 euro for students) and has to be paid in cash at the reception. Please make a reservation beforehand via reservation@herbertfoundation.org
  • After the event, the private part of 'Le Décor et son Double' will be open for a visit!
  • To subscribe, please send an email to reservation@herbertfoundation.org.
  • More information and practical details on the website of Herbert Foundation
  • Language: English

*Angela M. Bartholomew is a doctoral candidate in art history at the Vrije Universiteit Amsterdam. Her research examines how artistic practices shape exhibition making, and in turn how exhibitions shape artistic practice. She writes often on topics related to forces shaping art in the 1980s and 1990s for exhibition catalogues and journals such as Kunstlicht, OnCurating, Metropolis M, and Stedelijk Studies.

in category: Artist Talk

janina
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janina

This exhibition shows photography of people with psychological vulnerability that originated during workshops in collaboration with the Dr. Guislain Hospital and mentormentor.

Since the beginning of 2017, S.M.A.K. has been organising regular photography workshops for people with a psychiatric vulnerability in collaboration with the Dr Guislain Hospital and photographers Anja Hellebaut and Lisa van Damme from mentormentor. The idea behind the project is simple: the participants visit an exhibition in the museum and are all given a camera. They are able to use it over a period of four weeks to create a series of photographs.

After the visit to the museum, the participants were invited to carefully observe and record everyday coincidences. They received weekly support from mentormentor in the form of constructive criticism and help with content. The results are very direct and at the same time intensely personal, whereby the camera sometimes acts as a shield, and at other times as a window on the world.

Each workshop is open to eight participants. Since the scheme launched, workshops have run in conjunction with the following exhibitions: The Photographic I, The Wall, Raoul De Keyser and The Photographic II. This exhibition is composed of images that have been taken during these sessions. The photographs on display are by: Craig, Detlef, Guy, Hannah, Janina, Jean-Pierre, Marc, Max, Erwin, Frank, Serge, Stefaan, Laura, Nathalie and Max.

Supported by Sony. 

‘5.50 I 3.10, Two Pipes’ (1974)
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‘5.50 I 3.10, Two Pipes’ (1974)

The work ‘5.50 I 3.10, Two Pipes’ (1974) by Peter Downsbrough was recently acquired by the S.M.AK. collection and permanently installed in front of the museum building.

Since the 1970s, Peter Downsbrough (b. 1940, New Brunswick) has developed a strong visual language that he deploys to explore the space in a precise and personal way. His early work consisted of minimal spatial interventions with vertical metal bars, ‘Two Pipes’ and ‘Two Poles’. He gradually expanded his visual vocabulary with lines, words and fields. These elements stand alone, are combined, or enter into dialogue with architectural or urban elements. A visual interaction between the work and its context or environment is therefore established. A logic that the artist also carries through to models, videos, artists’ books and work on paper.

Prof. Dr. Alexander Streitberger is Professor of Modern and Contemporary History at the Catholic University of Leuven (UCL) and director of the Lieven Gevaert Centre for Photography. In 2011, he published the book Shifting Places. Peter Downsbrough – The Photographs. In an artist talk he explores Peter Downsbrough’s work in greater depth and arrives at a contemporary interpretation. The new book 5.50 I 3.10, Two Pipes will also be presented to the public for the first time.

Practical details:

  • Sunday 17 March 2019 at 4 pm
  • In English

in category: Artist Talk

‘Verlust der Mitte. Curated by Christoph Büchel’, S.M.A.K. The Municipal Museum of Contemporary Art, Ghent, Belgium, 2017 Photo: Dirk Pauwel
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‘Verlust der Mitte. Curated by Christoph Büchel’, S.M.A.K. The Municipal Museum of Contemporary Art, Ghent, Belgium, 2017 Photo: Dirk Pauwel

Christoph Büchel’s (b. 1966, Basel) participation in TRACK (2012) was a prelude to his solo exhibition From the Collection | Verlust der Mitte (2017), for which the artist constructed an overwhelming installation that put the Kingdom of Belgium, its colonial past and its post-colonial present under the microscope.

Christoph Büchel produces politically motivated videos, interventions and life-sized installations. He translates global questions such as social inequality, political injustice, bourgeois hypocrisy and religious conservatism into razor-sharp projects. His bold approach sometimes leads to the disappearance of the core function of museums – to exhibit – in favour of the creation of an alternative, fully functioning unit. His projects do not alleviate or remedy things but do ask pertinent questions.

Giovanni Carmine has been director of the Kunst Halle Sankt Gallen since 2007. In 2011 he was artistic coordinator of ILLUMInations, the 54th edition of the Biennale di Venezia and co-editor of the catalogue and in 2013 he curated the Swiss Pavillion at the same biennial. He has organised several projects with Christoph Büchel and co-edited the publications PSYOP Post 9/11 Leaflets and CEAU. His lecture explores the practice and position of Christoph Büchel as an artist.

Practical details:

  • Sunday 17 March 2019 - 2 pm
  • English

in category: Artist Talk

Artur Barrio, Interminável, 2005
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Artur Barrio, Interminável, 2005

In 2005, the ephemeral artistic practice of Artur Barrio (b. 1945, Porto) entered into an imaginary dialogue with works by Joseph Beuys (b. 1921, Krefeld – d. 1985, Düsseldorf) in one of S.M.A.K.’s recent major exhibitions.

Materials such as coffee, bread, charcoal, wine, fabric and urine typify Barrio’s practice and represent a radical denial of art as a permanent and (classical) aesthetic experience. Moreover, the temporary element of his work obliges the artist to search for alternative documentation techniques – photos, videos, artists’ books and so on – which are also explicitly part of each artwork. This mindset also explains his consistent choice to always make site specific work. A second key aspect of Barrio’s work is his radical relativisation of the art institute. He regards the curator as superfluous to the idea of the artwork or the exhibition and reduces him or her to a mere logistics coordinator.

According to Barrio, the work ‘Interminável’ (2005), Portuguese for ‘interminable’, alludes on the one hand to the ongoing creative process that art generates, and on the other hand to the utopian spirit that is carried within the infinite. To mark the reinstallation of the work, the artist will enter into dialogue with Philippe van Cauteren.

Practical details:

  • Sunday 17 March 2019 - 3 pm
  • Language: French

in category: Artist Talk