This summer, Kunsthal Rotterdam is presenting a large-scale retrospective of the American photographer Richard Avedon (1923-2004). With over a hundred and thirty photographs, the exhibition Richard Avedon: Relationships sheds light on Avedon’s groundbreaking contribution to fashion photography as well as his distinctive photographic portraits. His powerful, expressive portraits capture people like the writer Truman Capote, the actress Marlene Dietrich, the musician Bob Dylan, the artist Andy Warhol, and the actress and model Nastassja Kinski. Relationships is a celebration of Avedon's innovative power and creativity and shows how the photographer was able to convey the complexity and vulnerability of human relationships in the photographic frame like no other.

Richard Avedon is considered a pioneer in the fields of fashion and portrait photography. Over the course of his career, Avedon would often photograph his models on multiple occasions and at different stages of their lives, thus revealing the developments in the sitter’s character and the unique relationship between the photographer and his subject. The exhibition Richard Avedon: Relationships presents the master photographer’s extensive and varied body of work, offering insight into his working methods and zooming in on how, to this day, Avedon’s characteristic portraits of world-famous actors, dancers, artists, and literary greats are still image-defining in photography.

Dynamics and glamour

Richard Avedon began his career in 1944, working for leading magazines like Harper's Bazaar and Vogue. Here he caused a revolution by photographing his models in realistic and dynamic settings that sharply contrasted with the static poses that were commonplace in fashion photography at that time. With his cinematic images, Avedon was able to create a narrative that transports the viewer to a world of glamour and entertainment. The  photographer forged unique relationships with his models. Over the course of his career, Avedon frequently photographed the American supermodel Dovima. Their close collaboration resulted in the groundbreaking fashion photo Dovima with Elephants (1955), in which Avedon positioned Dovima — dressed in a gown by Dior — between two elephants, thereby literally highlighting the contrast between beauty and beast. The portrait of Nastassja Kinski (1981) that Avedon made for American Vogue, also became a world-wide icon, especially because of the timeless sense of eroticism the image conveys.

On the skin

Typical of Avedon’s style is the way in which he positioned his model against a characteristic, white background to completely zoom in on the individual. Each work offers a unique opportunity to get up close and personal with the subjects in a way typically reserved for partners or family members. With his portraits, Avedon places you so close to the sitter that even the tiniest wrinkles, lines, and hairs are clearly visible. His works exemplify how Avedon succeeded in uncovering the emotions of his subjects and reveal the photographer’s unrelenting desire to render each individual detail of the people in front of his lens.

Relationships

The portraits of the American poet and writer Allen Ginsberg illustrate that Avedon was unrivalled when it came to translating the mutual relationships of his sitters into images. Posing in the nude for the first, intimate portrait (1963), Ginsberg and his partner seem very relaxed, while the family portrait (1970) Avedon made a couple of years later accurately conveys the awkwardness between Ginsberg and his family. With the double portrait of the Italian writer and director Michelangelo Antonioni and his wife Enrica (1993), Avedon once again demonstrated his mastery in capturing the relationship between two people in a portrait: the mutual dependency and unconditional support are showing through in the pose, highlighting the couple’s intimate connection. 

About Richard Avedon

Richard Avedon (1923-2004) was born in New York City. During the Second World War he joined the U.S. Merchant Marine to serve as an assistant photographer. In 1945 his professional career as a photographer took flight and he started working for Harper's Bazaar and Vogue. After that, he also began working for a variety of other clients, including The New Yorker and Rolling Stone. Avedon is known for the powerful and expressive portraits he made against a characteristic white background. Over the course of his career, many celebrities and prominent figures from the worlds of art, politics, and entertainment appeared in front of Avedon’s camera. The photographer also ran his own commercial studio in which he collaborated with renowned fashion brands like Calvin Klein, Revlon, and Versace. His work has been shown at venues like The Metropolitan Museum of Art, MoMA, and International Center of Photography (New York), the National Portrait Gallery (Canberra), and Foam (Amsterdam), and is part of collections like that of the Victoria & Albert Museum (London). During his career Avedon established The Richard Avedon Foundation. 

Collaboration

The exhibition Richard Avedon: Relationships is realised in collaboration with curator Dr. Rebecca Senf of the Center for Creative Photography in Tucson at the University of Arizona and The Richard Avedon Foundation in New York.

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Event source:
https://www.kunsthal.nl/en/plan-your-visit/exhibitions/richard-avedon/

Exhibition

Fashion

Culture

Photography

Cultural

🎨 Cultural

Kunsthal

Richard Avedon: Relationships

Ominous witches, gruesome monsters, and hideous freaks: from Saturday 15 June, Kunsthal Rotterdam will be putting the spotlight on the shady depths of human imagination in the exhibition Hello darkness, my old friend. Seventy works on paper from the collection of the Leiden University Libraries confront you with the darker side of European art history. From Leonardo da Vinci’s character sketches and Pieter Bruegel the Elder’s engravings, to charcoal portraits by Natasja Kensmil: these works all visualise our fascination with the macabre.

Divided into seven themes, the exhibition shows that certain convictions and fears are of all times. The theme ‘Death comes for us all’ deals with the inevitable human demise and the prominent role death plays in art history. So-called Dances of Death, in which skeletons accompany people in a dance to the grave, are masterfully brought to life in the wood carvings of Hans Holbein II (1497-1543). Typical of depictions of this theme is that death comes for everyone and does not discriminate between rich or poor, sinner or saint.

Biblical hellscapes
Religious depictions of Judgement Day, the Apocalypse, and hell are brought together under the title ‘Biblical hellscapes’. These works played a crucial role in the propagation and reinforcement of the Christian faith, especially at a time when many people were still unable to read. In ‘Devils and Monstrosities’, visitors are confronted with the many guises of Satan, as portrayed in prints by artists like Albrecht Dürer (1471-1528), and David Humbert de Superville (1770-1849). Either depicted as a beast with horns, or seductive and mysterious, but always embodying evil.

Surrealistic and supernatural
The theme ‘Nightmares and Visions’ focuses on dreamlike and surreal depictions of the subconscious: from a fight between a jug with legs and a little headless man on a barrel in the water, to horrific plagues and monstrous figures. The fact that artists found inspiration in the collective fear and fascination for the supernatural can be explored in ‘Magic and Witchcraft’. Brooms, revolting potions, and mystical rituals are featured in the prints of artists like Pieter Bruegel the Elder (ca. 1525-1569), and Hans Baldung Grien (ca. 1484-1545).

Humorous elements
Despite their dark connotations, many of the works also contain humorous elements, resulting in an interesting paradox. ‘Everyday life at its strangest’ offers a platform to quacks, satirical depictions, and – occasionally humorous – legends. And finally, the works combined under the title ‘Allegorical madness’ at first glance mainly appear to showcase bizarre scenes, but those who look closer might also draw some important lessons from them. A print featuring sheep going to a wolf for confession, for instance, can be interpreted as a complaint against ecclesiastical power, while fighting money bags and chests are symbolic for the hypocrisy of war. In the interactions between shadow and light, humour and seriousness, you can experience the nuances of human existence.

Leiden University Libraries
The exhibition is realised in close collaboration with the Leiden University Libraries (Universitaire Bibliotheken Leiden, UBL). UBL is responsible for a number of special collections of national and international importance, including manuscripts, drawings, books, archives, photographs, maps, and letters from all over the world. UBL has an active acquisition policy to supplement these collections, which are made available to educational institutions and researchers, as well as other interested parties.

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Event source:
https://www.kunsthal.nl/en/plan-your-visit/exhibitions/hello-darkness-my-old-friend/

Hello darkness, my old friend

Deze zomer presenteert de Kunsthal Rotterdam de tentoonstelling ‘Colours in My Hand' van de Japanse kunstenares Ayako Rokkaku (1982).

Tijdelijk verhuist Rokkaku haar atelier naar de daglichthal van de Kunsthal. Tot en met 17 juli werkt zij dagelijks aan een kunstwerk ‘in progress'. Rokkaku maakt speciaal voor de Kunsthal grote wandschilderingen, ‘live paintings', door met blote handen acrylverf direct op het doek aan te brengen. Ze toont het publiek haar eigen wereld van heldere kleuren en terugkerende symbolen zoals bloemen, diertjes, boten en huisjes. Een terugkerend motief in haar werk zijn meisjes met grote ogen en lange armen die zij veelal in close-up afbeeldt. Iedereen kan in de Kunsthal zelf schilderen.

Schilderperformance

Ayako Rokkaku heeft een herkenbare manier van werken. Ze werkt heel direct, gebruikt geen penselen maar doopt haar handen in de verf en schildert daarmee op karton of doek. Zonder potloodlijnen, plan of compositie in haar hoofd begint ze te schilderen.

Rokkaku: "Het schilderij verandert voortdurend en dat proces kan iedereen meemaken. Het is fijn dat mensen dat moment van creatie met me kunnen delen." De werken van Rokkaku zijn vrolijk, maar schijn bedriegt. Onder de lieflijke fantasie zitten tal van emoties, driften, angsten, onzekerheden en overtuigingen die Rokkaku op het doek overbrengt. Fantasie en fabel spelen een grote rol, al blijven de voorstellingen geloofwaardig en herkenbaar. Soms slaat de hoge aaibaarheidsfactor om en krijgen de meisjes in haar werk een boosaardige blik.

Met je handen in de verf!

Kinderen zijn deze zomer van harte uitgenodigd om met hun handen te schilderen aan hun eigen kunstwerk, net als Ayako Rokkaku!

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Event source:
https://www.kunsthal.nl/nl/plan-je-bezoek/tentoonstellingen/Ayako-Rokkaku/

Family friendly

Colours in My Hand - Ayako Rokkaku

Vier de verbeelding en doe mee met All you can Art! Iedereen - maar dan ook echt iedereen - krijgt bij All you can Art de kans om samen kunst te maken, te leren en te ontdekken. De creatieve energie is de hele zomer lang letterlijk tastbaar in het open atelier en de organisch groeiende tentoonstelling in de Kunsthal. Deze zomer werken IBB oprichters en kunstenaars David Bade en Tirzo Martha samen met social practice kunstenaars Elvis Chen, Roxette Capriles, Liesbeth Labeur, Dik Kreuk en Gerson Kronstadt in en buiten de Kunsthal afwisselend aan verschillende projecten.

Het team van kunstenaars - onder de bezielende leiding van David Bade en Tirzo Martha - werkt samen met talrijke buurtinitiatieven, Rotterdamse kunstenaars, studenten, wijkbewoners, ondernemers en maatschappelijke instellingen. Vaste partners zijn onder meer Reakt, Pauluskerk en Laurens ouderenzorg. All you can Art laat zien welke verbindende rol kunst kan spelen in de maatschappij. Juist ook voor eenieder die deze connectie niet vanzelfsprekend kan maken. Het experimentele karakter en het standpunt dat kunst een verantwoordelijkheid neemt ten opzichte van de medemens en de samenleving, leent zich bij uitstek om op zoek te gaan naar mogelijkheden.

Summerschool 

De Summerschool vormt elk jaar weer een belangrijk onderdeel van All you can Art. Een groep creatieve talenten – van alle leeftijden, achtergronden en opleidingsniveaus – krijgt de kans zich zes weken lang op artistiek gebied te ontwikkelen aan de hand van het meester-gezel principe. Alle studenten gaan onder begeleiding van kunstenaars experimenteren, debatteren en meewerken op alle locaties en met alle partners.

Muzikale kick-off

All you can Art wordt op zondag 10 juli feestelijk afgetrapt tijdens Kunsthal LIVE OP ZONDAG, het gratis zomerse buitenfestival van de Kunsthal. Deze dag staat de programmering volledig in het teken van IBB en All you can Art, waarbij de Summerschool-studenten hun deelname aan All you can Art markeren met een muzikale parade door de stad en een performance. Kijk hier

 voor meer informatie en het volledige programma.

Hoe kun je meedoen?

Meedoen met All you can Art kan op vele manieren. Als bezoeker van de Kunsthal duik je in het open atelier en werk je samen met kunstenaars. Wil je een kijkje nemen bij partners in de stad, of wil je zelf partner worden met je organisatie, laat het ons weten via allyoucanart@kunsthal.nl

All you can Art gaat door! 

Na vele succesvolle zomeredities is het doel All you can Art duurzaam voort te zetten, waarbij de laagdrempeligheid, mentaliteit en de beweeglijkheid van All you can Art voorop blijven staan. Kunst Blijft Slapen – dat in het najaar van 2021 plaatsvond – was de eerste stap in de uitbreiding van de programmering, waarbij kunstwerken uit de collectie van de Rijksdienst voor het Cultureel Erfgoed bij verschillende huishoudens in Rotterdam logeerden.

Vanaf 2022 reikt All you can Art verder dan Rotterdam. Met het project 'Kunstness

'strijken vier kunstenaars van All you can Art om de beurt neer bij verschillende vestigingen van vaste partner Reakt in het land. Daarnaast nam All you can Art dit voorjaar zes weken lang intrek in de Pauluskerk Rotterdam. Verschillende All you can Art kunstenaars waren drie dagen per week aanwezig om samen met bezoekers van de Pauluskerk te werken aan een organisch groeiende tentoonstelling.

David Bade | Tirzo Martha | Elvis Chen | Roxette Capriles | Liesbeth Labeur | Dik Kreuk | Gerson Kronstadt

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Event source:
https://www.kunsthal.nl/nl/plan-je-bezoek/tentoonstellingen/all-you-can-art-2022/

Workshops

All you can Art 2022

Yoko Ono

Maurizio Cattelan

Ilya Kabakov

Erwin Wurm

Louise Bourgeois

Joan Jonas

Cao Fei

De Kunsthal Rotterdam presenteert deze zomer met trots het project do it van de internationaal bekende curator Hans Ulrich Obrist. Dit vooruitstrevende tentoonstellingsconcept bevat do it instructies van wereldberoemde kunstenaars onder wie Carsten Höller, Yoko Ono, Gilbert & George, Maurizio Cattelan, Ilya Kabakov en Erwin Wurm. Ruim 250 kunstwerken zijn als instructies geformuleerd, vertaald en gebundeld.

Op meer dan vijftig plaatsen hebben do it tentoonstellingen al plaatsgevonden, van de Manchester Art Gallery tot het Anne & Gordon Samstag Museum of Art in Adelaide en het Garage Museum of Contemporary Art in Moskou.

When you are walking, stop and smile at a stranger

Net als bij muziekstukken die wereldwijd en tegelijkertijd door musici kunnen worden uitgevoerd, zijn geen twee uitvoeringen van dezelfde do it instructie identiek. Voor elke nieuwe presentatie worden instructies voor kunstwerken opnieuw geïnterpreteerd door de uitvoerders. Dit kunnen kunstenaars, collega's of suppoosten, maar ook betrokken partners en bezoekers zijn. do it (Kunsthal Rotterdam) ligt in de lijn van innovatieve Kunsthalprojecten zoals MaakMee (2013) en Museum Minutes (2012) waar publieksparticipatie en andere wijzen van kunst beleven en presenteren aan bod komen.

Deze zomer kan jong en oud meedoen en bijdragen aan de tentoonstelling do it (Kunsthal Rotterdam). Het woord zegt het al: ‘doe het zelf'. Publieksparticipatie pur sang omdat een actieve rol van bezoekers van groot belang is om enkele van de vele kunstwerken tot stand te brengen. De Kunsthal nodigt iedereen uit om met veel élan do it (Kunsthal Rotterdam) te realiseren.

Lokale en grote (sponsor)partners waaronder Van Beek Art Supplies, Vermaat Groep en Frans Moret zijn uitgenodigd om een bijdrage te leveren aan een specifieke do it instructie. Felix Kops en Konkel & Kraan voeren de instructie ‘Shoot it' van Cao Fei (2004) uit die luidt ‘film jezelf alsof je een wereldleider bent' volgens 13 nauwkeurige stappen. En de Rotterdamse snoepfabrikant Jamin4You Rotterdam werkt met de instructie ‘Haal 80 kg verpakt lokaal snoep en leg dit in een hoek' mee aan de do itinstructie ‘Untitled' van Felix Gonzalez-Torres (1994). Andere do it instructies nodigen bezoekers actief uit om te participeren zoals ‘When you are walking, stop and smile at a stranger' van Louise Bourgeois (2002), ‘WISH PEACE' van Yoko Ono (1996), ‘Instruction' van Joan Jonas (2002) en ‘A Black not Straight Line' van Sol LeWitt (2001).

Achtergrond van do it

do it begon in 1993 als een gesprek in Parijs tussen de curator Hans Ulrich Obrist en kunstenaars Christian Boltanski en Bertrand Lavier. Ze wilden een tentoonstelling maken die voortdurend nieuwe versies van zichzelf genereert in navolging van conceptuele en minimalistische kunst uit de jaren 1960 en 1970 en Fluxus praktijken. Om het idee te testen nodigden ze twaalf kunstenaars uit om instructies voor kunstwerken te schrijven die voor elke nieuwe presentatie opnieuw kunnen worden geïnterpreteerd. Dit open ‘tentoonstellingsmodel' is na ruim twintig jaar nog steeds actueel en geeft een nieuwe betekenis aan een ‘tentoonstelling in wording'. Iedere do it tentoonstelling komt tot stand in dialoog met de lokale gemeenschap, en tegelijkertijd groeit het concept internationaal door iedere nieuwe uitvoering. De eerste do it vond plaats in 1994 in de Ritter Kunsthalle in Klagenfurt, Oostenrijk .

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Event source:
https://www.kunsthal.nl/nl/plan-je-bezoek/tentoonstellingen/do-it/

do it

Ontdek de tentoonstelling Yes to All tijdens een van de tours in juli en augustus. De Zwitserse kunstenaar Sylvie Fleury (1961) daagt op ludieke wijze onze opvattingen over gender uit én verkent tegelijkertijd de grenzen tussen hedendaagse kunst en de consumentenmaatschappij.

Voor haar verleidelijke werken haalt ze inspiratie uit de mode- en filmwereld, popcultuur, autosport, ruimtevaart en kunstgeschiedenis. Van donzige raketten en met nagellak geverfde autowrakken, tot levensgrote make-updozen en kapotgeschoten Chaneltassen: Fleury creëert keer op keer onverwachte nieuwe verhalen, altijd met een flinke dosis humor.

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Event source:
https://www.kunsthal.nl/nl/plan-je-bezoek/activiteiten/tours-sylvie-fleury-yes-to-all/

Tours Sylvie Fleury

The exhibition 40 Years Summer Carnival at Kunsthal Rotterdam marks the 40th anniversary of one of the largest and most exuberant celebrations in the Netherlands. Each year over 2,500 dancers, 25 carnival groups, and numerous floats liven up the centre of Rotterdam during the street parade, which also includes the presentation of the traditionally elected royalty: the Queen and — since 2022 — King. On the basis of photographs, videos, music, posters, and extravagant carnival costumes, the exhibition guides you through the history of this festive event.

In 1982, the first Summer Carnival celebrated in the Netherlands was an Antillean carnival in Utrecht. Two years later, the Summer Carnival found a new home in Rotterdam, where it evolved into a multicultural celebration. Today, groups from twenty five different cultural backgrounds are annually taking part in this colourful event. The Rotterdam Summer Carnival archive serves as the point of departure for this anniversary exhibition that is realised in collaboration with Rotterdam Unlimited Zomercarnaval. The exhibition at the Kunsthal connects past and present, and showcases the community’s creativity as the driving force behind the event.

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Event source:
https://www.kunsthal.nl/en/plan-your-visit/exhibitions/40-years-summer-carnival/

Performances

🪩 Party

40 Years Summer Carnival

Ter gelegenheid van de tentoonstelling Magnetisch Noorden organiseert de Kunsthal op zondag 31 oktober en zondag 7 november een verdiepend programma met talks, tours en workshops.

Meld je nu aan: /nl/plan-je-bezoek/activiteiten/magnetischnoordenworkshops/

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Event source:
https://www.kunsthal.nl/nl/plan-je-bezoek/tentoonstellingen/magnetischnoorden/

Magnetisch Noorden - Talks, Tours en Workshops

From 5 October 2024, Kunsthal Rotterdam will be presenting the first solo exhibition in the Netherlands of the British artist Thomas J Price (1981, London). With multidisciplinary work, spanning sculpture, performance, photography, and animation, Price constantly bends the conventions of material, scale, and presentation. The artist focuses on themes of representation and humanism and how we relate and respond to power structures within society. In this large-scale retrospective, the Kunsthal will be showing a wide variety of works from Price’s two-decade-spanning career: from the early performance ‘Licked’ (2001) to recent sculptures such as ‘A Place Beyond’ (2022).

The exhibition begins with Price’s video documentation of performance Licked (2001), which shows him licking a gallery wall over the course of three days. The artist conceived the work as an expression of presence in absence, of being in a space without being seen. Although to date this remains Price’s only performance piece, it continues to have a major impact on his multidisciplinary work and way of thinking. At the Kunsthal, all disciplines from his oeuvre are present, including the photographic work ‘Hand Arrangement (The Complex Journeys of a Simple Form)’ (2023), and the more recent abstract painting ‘Momentary Interface’ (2022).

Psychological portraits

Central to Price’s figurative sculptures is the following question: what does it mean to be acknowledged in society and what does it mean if you are not? Price embodies everyday, fictional characters in his psychological portraits, realised through a mix of digital technology and traditional sculptural techniques. Often using 3D-scanning to capture a variety of poses and facial expressions of individuals, he is able to construct and manipulate multiple sculptural elements simultaneously to create a single image of an imaginary person, and confronts the viewer with stereotypes surrounding perception and identity. An example of this is the almost four-metre-high sculpture Moments Contained (2023), which stands in front of Rotterdam Central Station. It depicts a Black woman wearing Nike trainers with her fists clenched in the pockets of her sweatpants. Do viewers recognise themselves, someone they know, or does she confront them with their own prejudices? 

Amalgam characters

Price uses his sculptures as a form of critique against the traditional statues that often place influential people from history on a pedestal. Although sometimes monumental in scale, the characters the artist depicts are modest and instantly recognisable in their everyday attire and informal poses. In the public space, Price intentionally refrains from placing his amalgam characters on a pedestal. Instead, he allows them to stand with both feet firmly on the ground, as is demonstrated by the large sculpture ‘Reaching Out’ (2020), which will be standing in front of the Kunsthal entrance during the exhibition. It is a portrait of a young woman who is looking at her mobile phone, constantly digitally connected to the world while at the same time isolated from her immediate surroundings. 

Innovative versus classical

Price combines innovative methods with classical techniques, such as bronze casting, gilding, or sculpting in marble. Examples of this in the exhibition are the ongoing series of gilded heads ‘Untitled (Icons)’ started in 2017, or the pink marble ‘Through a Steady Gaze’ from 2023. Bronze, gold, and marble are often chosen due to their established hierarchy within the canon of art history, while the figures they represent are ordinary. In this way Price is subtly undermining the expectations of the viewer: he recalibrates the image we have of Black people in contemporary society and art. Price doesn’t exclusively work with traditional materials. 

Thomas J Price

Thomas J Price is one of the most important contemporary British artists of his generation. He studied at both the Chelsea College of Art and the Royal College of Art in London. Price was commissioned by Hackney Council, London to create the first permanent public sculptures to celebrate the contribution of the Windrush generation and their descendants in the UK, unveiled in June 2022. His solo presentation, ‘Witness’, in collaboration with The Studio Museum in Harlem was on view in Marcus Garvey Park, New York from 2021 – 2022. In 2023, his solo exhibition ‘Beyond Measure’ was shown at the gallery Hauser & Wirth Downtown Los Angeles. Between 3 December 2023 and 7 April 2024, Price took part in the National Gallery of Victoria’s Triennial in Melbourne, Australia. And until May 2024, the exhibition ‘Thomas Price at the V&A’ will be on view at the Victoria & Albert Museum, London. 

Catalogue

The exhibition will be accompanied by the catalogue Thomas J Price. Matter of Place (29.90 EUR). It is now available for purchase in the Kunsthal webshop (https://www.kunsthalshop.nl/en_GB/a-88060139/all/thomas-j-price-matter-of-place/)

and will be available in the Kunsthal store from October.

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Event source:
https://www.kunsthal.nl/en/plan-your-visit/exhibitions/thomas-j-price-matter-of-place/

Thomas J Price: Matter of Place

As a special accompaniment to the 'Magnetic North' exhibition, the Kunsthal will organise a programme with talks, tours, and workshops on two consecutive Sundays: 31 October and 7 November. Join us for an enriching experience exploring the mythical, imaginary Canada depicted in the paintings from 1910-1940.

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Event source:
https://www.kunsthal.nl/en/plan-your-visit/exhibitions/magneticnorth/

Magnetic North - Talks, Tours and Workshops

Adam

Maggie

Christie

Eric

Anna

De in 1992 opgerichte Kunsthal Rotterdam neemt een unieke positie in binnen het Nederlandse culturele landschap. Met contrastrijke en spraakmakende tentoonstellingen en activiteiten en altijd meerdere tentoonstellingen tegelijk, weet de Kunsthal op innovatieve wijze steeds weer nieuw publiek aan zich te binden.