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Opening – AT FIRST I WAS AFRAID, I WAS PETRIFIED – Saturday 4 Sept

The exhibition, AT FIRST I WAS AFRAID, I WAS PETRIFIED, approaches the gallery space as a body that has entered the mode of survival. Think of applying for subsidies, negotiation & lobbying, shifts in the political field, uncertainties, selection and invitation procedures, outside judgment, crowd pullers, changing exhibitions, social trends, etc. Paul Geelen and Hedwig Houben: ‘[H]ow does the body ensure that it remains in balance, how does the body survive and how does it ensure that it remains visible and relevant to the environment.’

The exhibition has been co-developed by Caradt researchers Hedwig Houben, Brenda Tempelaar en Rob Leijdekkers.It comes out of the convergence of two Cultural and Creative Industries research projects: Art and Culture in Brabant: Meaning and Potential and Dilemmas for Artists and Designers.

The opening on Saturday September 4th at 4:00 PM kicks off a series of events with the intent of opening the gallery space to a variety of parties inside and outside the artworld. Participants will include Kunstloc Brabant, students of St Joost Art Academy, a virologist, The Living Museum, Inloophuis Midden-Brabant and others.

Go for more information to www.park013.nlarrow


Visit Park at Wilhelminapark 53, Tilburgarrow

Opening hours:
Friday 1:00 PM – 5:00 PM
Saturday 1:00 PM – 5:00 PM
Sunday 1:00 PM – 5:00 PM
Free entrance

Dilemmas for Artists and Designers

This research project is a follow-up to the YAFF (Young Artist Feed Forward) project. 

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Art and Culture in Brabant: Meaning and Possibility

This research project is a direct response to the 2020 coalition agreement of CDA, VVD, FvD, and Lokaal Brabant in which the art and culture portfolio was abolished, and to the discussion that has arisen as a result.

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Research Group: Cultural and Creative Industries

The research group Cultural and Creative Industries investigates the role of artists and designers as creative innovators and drivers of social and economic change. Affiliated researchers analyse the cultural and creative industries from a critical point of view and examine the conditions under which timely forms of aesthetic expression and social connectedness can actually take place within the precarious reality of this field. What economic models are required by artists and designers to create a meaningful practice within the aesthetic, social, and economic intentions of the cultural and creative industries? What skills sets are required for those artists and designers who don’t just want to follow movements, but actually shape novel social and economic models of the future?

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