Kunsthallen: museums without ballast?
de Appel, Prinseneiland 7, Amsterdam
November 13: Adelina von Fürstenberg (Centre d'Art Contemporain, Geneva) November 20: Ulrich Loock (Kunsthalle, Berne) November 27: Barry Barker (Arnolfini Gallery, Bristol) ‘For the programme of activities on Sunday afternoons De Appel has invited a number of organisers to come and speak about their work in the field of contemporary art. What they have in common and is also their speciality, is that they regularly organise presentations, exhibitions and activities in exhibition buildings or in temporarily available spaces. Moving from building to building, as Adelina von Fürstenberg has been doing for almost fifteen years in Geneva with her Centre d'Art Contemporain, is one way of introducing chameleon-like changes into the programme without having to give up a distinctive identity. Or, like the way that Barry Barker runs his Arnolfini Gallery in Bristol, by having permanent accommodation that, besides showing contemporary European art, also programmes music, film, dance and theatre performances. What distinguishes these institutions from galleries and museums? Are they more flexible because they don’t have the ballast of a collection or an educational department? Are young artists shown at an earlier stage in these cultural centres or 'Kunsthallen? Is it, to put it simply, similar to what an art film house offers in comparison with a cinema or film museum? Does the lack of a collection or a permanent space have to be compensated for in terms of identity by publicity stunts, blockbusters or a publication which brings all activities under one heading? Or is it enough for it to be appreciated by colleagues? These questions are not only of current interest in Switzerland where Adelina von Fürstenberg and Ulrich Loock of the Kunsthalle Basel work or in France and England, but are also under discussion in The Netherlands, the country of subsidies. What might perhaps come to light in the lectures and discussions are what the priorities are of various art-lovers.’ (‘Blockbusters for identity’, Newsletter De Appel, 3 (1988) 4.)
