225th anniversary of the Museum of Fine Arts: A cultural festive year not to be missed

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The Museum of Fine Arts (MSK), the oldest museum in Belgium, is celebrating its 225th anniversary this year. For this reason, the museum will organise a major cultural festive year.

From a festive weekend and historical trail through the halls to numerous exhibitions and activities, you will learn everything there is to know about the museum’s history over the course of this year. Moreover, the event will not only take place within the museum walls, but there will also be a lot going on all over the city.   

‘Friends of the Museum of Fine Arts’ is also celebrating its 125th anniversary. This friends’ association, which now has 850 members, has been helping to expand the MSK’s collection by purchasing or donating masterpieces since 1897. Christ Carrying the Cross by Hieronymus Bosch, for example, was an important acquistion for the museum. 

What can you as a visitor expect during this cultural festive year? A programme full of new exhibitions, night visits, workshops, discussion evenings, city tours and much more.

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Sixty years ago the first Turkish migrants came to Ghent. Nowadays almost one out of ten Ghent citizens has Turkish roots. A group of young people of Turkish descent set out to find stories, objects and the meaning behind those figures. The focus of this search was the question of what should be preserved for future generations. With the help of their grandparents, parents and acquaintances, they looked for objects, stories and relevant facts relating to the Turkish migration to Ghent. The outcome of their efforts is a new Ghent-Turkish heritage collection. 
At STAMplein square, a separate part of the museum with changing programmes, you can visit the heritage project “The square kilometre”. Here you can learn all about the Dampoort neighbourhood. Historian in residence Tina de Gendt and researcher Thirza Vandenabeele delve deep into the history of the area around the Gent-Dampoort railway station. Contrary to Ledeberg, Rabot and Brugse Poort, which were the central topic of the project “The square kilometre”, the Dampoort area is not what you could call a “neighbourhood”. It is composed of parts of the districts Ham, Macharius, Dendermondsesteenweg and Antwerpsesteenweg. Prefer not to wait in line at the ticket booth? Want to be sure you can discover the STAM when you want to? Then book your tickets online in advance and enjoy your visit to the fullest. Are you driving to Ghent? First check whether you may enter the city centre with your vehicle. Clean vehicles may enter the city centre free of charge, polluting vehicles have to pay. Is your vehicle allowed to enter, but do you not have a Belgian or Dutch number plate? You will ALWAYS have to register!
Every academic year, S.M.A.K, Ghent University, and the Curatorial Studies program at KASK & School of Arts collaborate to organize the Curatorial Lectures series. This year's lecture series, featuring Aline Hernández as the third speaker, centers on the theme 'Working with Communities'. Curators connect communities with cultural institutions. They engage with communities, ensure accessibility, address social issues, and build trust between different stakeholders. This year’s series ‘Working with Communities’ invites practitioners to discuss the role of curating in shaping communities and relationships. How can curatorial work reveal power dynamics and offer alternative social imaginaries? Biography Yves Makongo, born in 1984 in Douala, Cameroon, currently serves as the Artistic Assistant and Project Manager at the contemporary art center doual'art. He holds a degree in human geography from the University of Douala, where he completed his Master's in Environment in 2009. Yves is highly versatile, effortlessly transitioning from hands-on tasks like woodworking to intellectually demanding work involving new technologies. Since joining doual'art in January 2011, Yves has gained extensive experience working alongside Didier Schaub (1952-2014). His responsibilities include assisting with scenography and exhibition setups, creating neighborhood monographs, conducting questionnaire surveys, managing supplies, and overseeing various projects. Yves has been instrumental in the success of two editions of the public art festival SUD, organized by doual'art: SUD2013, Douala Métamorphoses, and SUD2017, The Place of Human Dimension. Yves Makongo is an alumnus of Asiko Addis Ababa 2016 and Asiko Accra 2017, where he honed his curatorial skills. He is also an alumnus of The Museumslab in 2022. Yves is passionate about various causes, including human rights, art and culture, migration and boundaries, health and the environment, all intertwined with issues of identity. Past speakers in the Curatorial Lectures series have included Cosmin Costinas, Cédric Fauq, Yolande Zola Zoli van der Heide, Simon Njami, Zoé Whitley, Ippolito Pestellini Laparelli, Karen Archey, Cecilia Alemani, Rebecca Lamarche-Vadel, Luca Lo Pinto, Joanna Mytkowska, Sofia Hernández Chong Cuy, Penelope Curtis, Mathieu Copeland, Anthony Huberman, Jean-Hubert Martin, Chus Martínez, Gabi Ngcobo, Marie Hélène Pereira, Susanne Pfeffer, Kasia Redzisz, Nicolaus Schafhausen and Adam Szymczyk.
The Shore, a place I'd like to be is the first solo exhibition in a Belgian museum of electro-acoustic composer and artist Tarek Atoui. He exhibits existing works and new productions. Sound constitutes the core of his work. Atoui is well-known for the sonic-sculptural landscapes he creates on the basis of sounds, images, matter, space, time, human actions and organic processes. His installations always take the form of a participative workshop or prompt visitors to listen to the space, each other, and themselves.
Bas Birker Birker omschrijft zichzelf als best sympathie, althans voor een Hollander. Maar schijn bedriegt, want diep vanbinnen zit een dik drammerig Duitsertje met een voorliefde voor orde, stiptheid en bovenal zichzelf. Noem het arrogant of egocentrisch, maar zelfkennis is het begin van alle wijsheid. Toch? Het voorprogramma van Bas bestaat uit een selectie van lokaal stand-up comedy talent. MC van dienst op deze avond is Domien Vloeberghs. De pers over Bas Birker: "In zijn slot onderstreept Birker andermaal dat hij zijn plaats aan de top van de Vlaamse en Nederlandse podiumhumor verdient." (De Morgen) "Misschien wel de beste pure stand-upcomedian van Vlaanderen." (De Standaard) "Topklasse" (Gazet van Antwerpen) Veelgestelde vragen Kan ik mijn UiTPAS gebruiken bij deze Artyshock-activiteit? Ja. Je ontvangt een punt en koopt, met een UiTPAS met kansentarief, een ticket aan reductietarief (2 euro). Voor tickets aan kansentarief: mail je UiTPAS-nummer naar jeugd@destelbergen.be om een promotiecode te ontvangen. Zijn de plaatsen genummerd? Neen. UiTPAS? - UiTPAS is een getrouwheidskaart. Per deelname aan een vrijetijdsactiviteit in Destelbergen, en bij uitbreiding bij alle UiTPAS-partners in heel Vlaanderen, ontvang je punten die inruilbaar zijn voor tal van interessante voordelen: gratis tickets, cadeaus, gadgets … - UiTPAS is ook een kortingskaart. Personen met een verhoogde tegemoetkoming of in schuldbemiddeling krijgen met deze pas een reductie van 80% op het vrijetijdsaanbod. - Een UiTPAS koop je voor 5 euro (volw.) of 2 euro (0 - 18 j) op volgende plekken: Onthaal gemeentehuis, Bibliotheek, Villa Tuur, Loket Vrije Tijd, DC De Reinaert en Sociale dienst van het OCMW. - De UiTPAS met kansentarief kost slechts 1 euro en kan je enkel kopen aan het onthaal van het gemeentehuis, in Villa Tuur of op de sociale dienst van het OCMW.
This exhibition examines the similarities and differences between the purchasing policy of Jan Hoet, the founder of S.M.A.K. (Municipal Museum of Contemporary Art), and that of the art collecting couple Roger and Hilda Matthys-Colle. Dr. Roger Matthys stood at the cradle of the Association for the Museum of Contemporary Art (V.M.H.K.), which had the ambition to open its own museum and also purchased art. As president of the association, Matthys had a lot of influence on the purchasing policy of the V.M.H.K. His private collection included quite some works that were exhibited in or purchased by the museum. Both collections are closely intertwined and complement each other. The Matthys-Colle Collection spans fifty years. In an early stage Roger Matthys purchased works of art for his private collection as well as for the collection of the V.M.H.K. In his purchases he did not focus on one specific movement, but rather created a collection that is representative of all art movements from the second half of the twentieth century.  In 2020, the S.M.A.K. received 39 works on long-term loan, which now constitute the basis for this exhibition. Both collections include or at one time included work by every single artist represented in the exhibition.  The archive exhibition on the upper floor delves deeper into the Matthys-Colle Collection and the figure of Jan Hoet, while in the room of the association of the Friends of S.M.A.K. you will discover a selection of works by artists represented in the Matthys-Colle Collection and exhibited by the V.M.H.K.
In visual arts, collaboration is often secondary to the romanticised idea of individual artistic genius. Challenging the myth of the solitary artist, this exhibition explores the unique dynamic of collective creativity and looks at how it influences artistic production. In addition to works from the S.M.A.K. collection, created between 1959 and 2021 by art collectives, artist duos or one–off collaborations, this exhibition also displays works deliberately designed to facilitate other works of art.  Includes works by: Philip Metten, Art & Language, Denicolai & Provoost, Bernd & Hilla Becher, Jos De Gruyter & Harald Thys, Flexboj & L.A., Narcisse Tordoir & David Neirings, General Idea, Gilbert & George, HAP, David Hammons & Bruna Esposito, Franz West, Heimo Zobernig, Danh Vo, Apparatus 22, Ex-artists' collective (Anikó Loránt, Kaszás Tamás), Audrey Cottin, Alexis Gautier, Anna & Bernard Blume, Brosi & Bonier, Engelbert Van Anderlecht & Jean Dypréau, SUPERFLEX, Marina Abràmovic & Jan Hoet, Guillaume Bijl, Allora & Calzadilla, Jacques Charlier, Korakrit Arunanondchai, Mekhitar Garabedian, Ingrid Mwangi and Robert Hutter.
Marie Cloquet creates large-scale hybrid works that constitute a non-classified overlap between painting and photography. She reconstructs the places where they came into existence. This way her landscapes ignore the dividing line between nature and culture, between organic and man-made.
The Ghent University Museum (GUM) and Botanical Garden will take you on a quest for the truth. This exhibition provides an answer to questions such as: What is true and what isn’t? What do we really want to know? Does absolute certainty exist? What is the role of science in this regard? Does a museum always tell the truth? The GUM confronts big names and young talent from the art world with exceptional research from home and abroad and intriguing science projects in which you can participate live. In the Wunderkammer of TRUTH, you (might) learn all about the truth. The exhibition is definitely worth a visit.
There was a time when Ghent owned 5,000 hectares of farmland, meadows and woods. Today the city owns 1,800 hectares of agricultural land, mostly outside city limits. The city in the countryside: what’s the story behind those lands? Where does their future lie? This exhibition will tell you all about it. In the thirteenth century, wealthy citizens of Ghent, abbeys and hospitals came into possession of land outside the city walls. The hospitals needed these lands to sustain them financially and to feed the poor and the sick. In the twentieth century radical changes took place in the agricultural sector as a result of the city’s expansion, the development of the port and the construction of motorways. The new Public Centre for Social Welfare (OCMW) and the social policy also contributed to this evolution, as food distribution was no longer necessary. Some of Ghent’s agricultural lands were sold and some fell into oblivion.  This exhibition highlights this chapter of Ghent’s history with the help of maps, paintings, illustrations, photographs, film footage and extraordinary objects. It also questions the future of these lands.