Curatorial Studies: For some time I鈥檝e been standing
For some time I鈥檝e been stan颅ding is an exhi颅bi颅ti颅on cura颅ted by Cura颅to颅ri颅al Stu颅dies 2024鈥夆�撯��2025 par颅ti颅ci颅pants that takes pla颅ce at the Old Hou颅se at Kunst颅hal Gent. Brin颅ging together works by Chu颅pan Ata颅s颅hi, Manon de Boer, Michael Klei颅ne, Bri颅git颅te Lou颅ter, a work颅shop by Emma Ydiers and a per颅for颅man颅ce by Astrid Specht See颅berg, the exhi颅bi颅ti颅on sets out to tra颅ce gestu颅res of rehear颅sal, repe颅ti颅ti颅on, and return, explo颅ring what it means to pau颅se, to stand still, or to remain in motion.
By ente颅ring into dia颅lo颅gue with the fres颅co on the back wall of the Old Hou颅se, the art颅works rei颅te颅ra颅te its sig颅ni颅fi颅can颅ce as a palim颅psest鈥夆�斺�塺es颅pon颅ding to, echo颅ing and reima颅gi颅ning it. Imme颅di颅a颅te颅ly dra颅wing the gaze, the fres颅co tends to direct a body鈥檚 move颅ment in the spa颅ce. Bet颅ween the other whi颅te walls, it attracts the eye, invi颅ting it to wan颅der over its worn, bodi颅ly surfa颅ce, to fol颅low the con颅tours of the gaps and cracks, to gli颅de over the smooth are颅as and to ack颅now颅led颅ge its most vul颅ne颅ra颅ble parts.
The exhi颅bi颅ti颅on takes its tit颅le from a pas颅sa颅ge in Kathy Acker鈥檚 1993 novel My Mother: Demo颅no颅lo颅gy, 鈥嬧�淔or some time I鈥檝e been stan颅ding, in front of a whi颅te stuc颅co wall, on a whi颅te road that is rai颅sed abo颅ve all the sur颅roun颅dings and the dirt under颅ne颅ath, as though it鈥檚 a plat颅form. All around me are mas颅ses of lug颅ga颅ge, suit颅ca颅ses and bags鈥�. Inte颅gral to Acker鈥檚 wri颅ting is the pro颅cess of rewri颅ting and rein颅ter颅pre颅ting, often pla颅gi颅a颅ri颅sing other sour颅ces as her own. This reflects the impe颅tus of the exhi颅bi颅ti颅on to enter into con颅ver颅sa颅ti颅on with the fres颅co on the back wall of the Old Hou颅se, rei颅te颅ra颅ting its sig颅ni颅fi颅can颅ce as a palim颅psest with art颅works that res颅pond, echo, and reimagine.
Recommended for you
For some time I鈥檝e been stan颅ding is an exhi颅bi颅ti颅on cura颅ted by Cura颅to颅ri颅al Stu颅dies 2024鈥夆�撯��2025 par颅ti颅ci颅pants that takes pla颅ce at the Old Hou颅se at Kunst颅hal Gent. Brin颅ging together works by Chu颅pan Ata颅s颅hi, Manon de Boer, Michael Klei颅ne, Bri颅git颅te Lou颅ter, a work颅shop by Emma Ydiers and a per颅for颅man颅ce by Astrid Specht See颅berg, the exhi颅bi颅ti颅on sets out to tra颅ce gestu颅res of rehear颅sal, repe颅ti颅ti颅on, and return, explo颅ring what it means to pau颅se, to stand still, or to remain in motion.
By ente颅ring into dia颅lo颅gue with the fres颅co on the back wall of the Old Hou颅se, the art颅works rei颅te颅ra颅te its sig颅ni颅fi颅can颅ce as a palim颅psest鈥夆�斺�塺es颅pon颅ding to, echo颅ing and reima颅gi颅ning it. Imme颅di颅a颅te颅ly dra颅wing the gaze, the fres颅co tends to direct a body鈥檚 move颅ment in the spa颅ce. Bet颅ween the other whi颅te walls, it attracts the eye, invi颅ting it to wan颅der over its worn, bodi颅ly surfa颅ce, to fol颅low the con颅tours of the gaps and cracks, to gli颅de over the smooth are颅as and to ack颅now颅led颅ge its most vul颅ne颅ra颅ble parts.
The exhi颅bi颅ti颅on takes its tit颅le from a pas颅sa颅ge in Kathy Acker鈥檚 1993 novel My Mother: Demo颅no颅lo颅gy, 鈥嬧�淔or some time I鈥檝e been stan颅ding, in front of a whi颅te stuc颅co wall, on a whi颅te road that is rai颅sed abo颅ve all the sur颅roun颅dings and the dirt under颅ne颅ath, as though it鈥檚 a plat颅form. All around me are mas颅ses of lug颅ga颅ge, suit颅ca颅ses and bags鈥�. Inte颅gral to Acker鈥檚 wri颅ting is the pro颅cess of rewri颅ting and rein颅ter颅pre颅ting, often pla颅gi颅a颅ri颅sing other sour颅ces as her own. This reflects the impe颅tus of the exhi颅bi颅ti颅on to enter into con颅ver颅sa颅ti颅on with the fres颅co on the back wall of the Old Hou颅se, rei颅te颅ra颅ting its sig颅ni颅fi颅can颅ce as a palim颅psest with art颅works that res颅pond, echo, and reimagine.
Artists on show
What's on nearby
