Experimentation isn’t a luxury, a conversation with Kunsthall Stavanger’s New Director Joseph Constable

I remember from an early age being quite obsessive about looking through art publications – especially several 20th century modern art coffee table books that my mum bought me – noting down the names of artists and artworks that I liked, even making copies of them in my sketchbook (organising and archiving from an early age!). My parents trained as fashion designers and are both very skilled draftspeople, so I was fascinated not only by art and design as a child, but also the process of bringing different things together on the page or in space.

Two projects stand out as particularly formative. The first is Cao Fei: Blueprints, which I co-curated with Hans Ulrich Obrist at the Serpentine in 2020 - the artist’s first major survey show in the UK. In transforming the gallery, we invited visitors to cross a literal and metaphorical threshold, moving from one world into another. The exhibition combined theatrical set design, film, installation, virtual and augmented reality to create a constantly shifting experience, where physical, cinematic, and digital spaces overlapped. It was a kind of guided disorientation, an invitation to move between realities, to be both immersed and reflective. That sense of transformation, of an exhibition as a total environment, has continued to shape how I think about the medium of the exhibition and its potential.

Another project that deeply impacted me was Seated by Tschabalala Self at the De La Warr Pavilion in 2023: a monumental bronze sculpture of a Black woman taking a seat, installed in such a way that she sits gazing out to the English Channel. Shortly after its installation, the work was vandalised in a particularly violent way, when the skin of the figure was spray-painted white. While this was profoundly distressing, it also revealed the power of collective action and solidarity. Within days, over 200 members of the local community came together for a public restoration of the sculpture in a collective act of care and resistance.

That experience reaffirmed for me the importance of listening to artists (Self came up with the idea of organising the restoration event), of holding space for difficult conversations, and of recognising that artworks exist within complex social and political contexts. It was also a lesson in leadership: understanding how to respond with empathy, conviction, and openness, while involving both artist and community to shape the narrative.

The key word for me in this question is ‘need’. Experimentation isn’t a luxury, it’s an imperative, especially in an age marked by division and uncertainty; it is a vehicle to imagine otherwise through the diverse voices of artists. So, in many ways, experimentation is not a departure from the Kunsthall’s history but a continuation of it. It’s about carrying forward that legacy of openness, curiosity, and collective possibility.

For me, artistic experimentation is closely linked to freedom: the freedom for artists to work unburdened by the limitations of the art market, public opinion, or pre-existing categories that might constrain them, whether in relation to funding, recognition, or commercial considerations. True experimentation allows for flow, risk-taking, and the transformative potential of practice itself.

Experimentation thrives when an institution is responsive to artists’ visions rather than imposing a pre-defined idea of what an exhibition, programme, or artwork should be. It’s about creating space for discovery, dialogue, and the unforeseen. Operating in a small city surrounded by beautiful nature offers a focused space where the impact of experimentation can really be felt – to me, Stavanger feels at once remote and incredibly connected and international, which I believe is a strength.

I was initially drawn to the role because of the strength and distinct profile of its artistic programme, which has been shaped so thoughtfully over the past 12 years by Hanne Mugaas. It’s exciting to lead an institution with such a strong international outlook and presence, yet one that operates in an agile and intimate way, both through the size of its team and its meaningful role as an artistic and curatorial force within a small city like Stavanger.

This position also represents the opportunity to engage with a new context and to bring insights from my time at the De La Warr Pavilion, where I developed a visual arts programme with relevance locally, nationally, and internationally. I see strong parallels between that regional setting and Kunsthall Stavanger’s, as both allow for a high degree of freedom and experimentation, while maintaining deep connections to their communities.

Another major draw for me is the building itself, comprising beautiful, large-scale spaces with a lot of potential for artists to expand their practice. I’ve been fortunate to work in several historic and architecturally distinctive venues over my career, and I’m very interested in how Kunsthall Stavanger’s building can be activated through the programme and how artists respond to it.

Finally, what really stood out to me is the Kunsthall’s balance between intellectual rigour and playfulness. That combination of criticality, joy, and curiosity feels essential to creating a contemporary art institution that is both conceptually ambitious and deeply connected to its audiences.

As the Kunsthall approaches its centenary, I think it’s safe to say that it has already established its legacy as a leading space for contemporary art, one deeply committed to experimentation, criticality, and meaningful encounters with audiences. Its embrace of urgent voices and bold ideas is something I find deeply inspiring, and very aligned with how I’ve approached my own curatorial work.

Looking ahead, the Kunsthall is at an exciting moment of renewal. The new strategy that carries the organisation through to 2030 identifies storytelling as a key theme, something I find both timely and full of potential. For me, the question is: how do we communicate and tell stories through the visions and critical perspectives of artists? And how can those stories draw audiences more deeply into what we do?

Reflecting on one hundred years of the Kunsthall’s building, I also think it’s vital to acknowledge its place within the fabric of Stavanger. As an architectural landmark, it’s a site of cultural heritage and civic identity.

In 2025, the renovation of the garden space, initiated by Hanne and the team, will also begin a new chapter through a new outdoor space for the institution, improved accessibility and, of course, new possibilities for programming.

That shift from focusing solely on the galleries to embracing the outdoor potential of the site feels significant. It mirrors a broader ambition to move beyond the walls of the institution, to engage more deeply with local audiences, and to foster greater porosity between the Kunsthall and the city.

One of the key lessons I’m bringing with me, which connects to a previous question, is the importance of being artist-led with intent. I’ve always believed that artists are often best placed to offer us alternative ways of thinking, living, and connecting. Through my various curatorial projects, my intention has always been to listen, facilitate, and guide those visions in ways that create meaningful encounters for audiences – experiences that are impactful yet inclusive, that don’t isolate but instead invite connection.

At the Serpentine, I gained experience across exhibitions, live programmes, architecture, and publishing, which gave me a well-rounded understanding of how a contemporary art institution can bridge multiple forms of practice and connect to audiences in varied ways. Later, at the De La Warr Pavilion, I learned the importance of balance: how to sustain a programme that is locally rooted yet nationally and internationally visible.

I have long been interested in the role of storytelling when it comes to exhibition making, and how by engaging with artists and artworks, we can access new perspectives and experiences within our day-to-day lives. One of the things I found particularly inspiring at the De La Warr was the way people engaged with the building. Many visitors come simply for a cup of coffee, to meet friends, or to look at the sea, and in doing so, they might unexpectedly encounter an exhibition of an internationally recognised artist. Those moments of discovery are powerful, and I’d love to think about how a similar sense of openness and invitation can shape the experience at the Kunsthall. What does it feel like to walk through the doors? How does the architecture mediate the experience of the exhibition? How can every layer of the visit - from arrival to encounter - feel intentional and generous?

My priority will be listening and learning, both from the brilliant team at the Kunsthall and from the wider arts community in Stavanger. Coming to Norway from the UK, and having never lived here before, it’s particularly important to me to understand the dynamics and nuances of this arts ecosystem. Ultimately, my goal is to create multiple entry points for the local community to connect with the Kunsthall: through participatory experiences, education, event-based programming, and a holistic approach to exhibitions that activates the institution throughout the year.

Acting with integrity and care has always been central to my practice, both in my work with artists and in my relationships with colleagues. Maintaining that approach will guide how I engage with the team and the community.

For me, integrity means working in a way that is open, thoughtful, conscientious, and fair in order to build trust and respect with those that I collaborate with. It connects to what I mention elsewhere about the importance of adaptability: every artist and visitor is different, and so integrity also means being responsive and equitable in how we extend invitations, develop relationships, communicate what we are doing, or welcome people into the building. Underpinning all of this is a commitment to warmth and kindness, both internally and externally, because as an institution we are, ultimately, hosts.

I’m particularly excited by the potential to commission artists to realise ambitious new works for the galleries, including through co-commissions with other institutions internationally. This approach, which I’ve developed at both the Serpentine and the De La Warr Pavilion, allows us to share resources and boost visibility.

Kunsthall Stavanger’s emphasis on supporting emerging artists aligns closely with my own interests, and I see the institution as a strong platform for critical inquiry. At the same time, I want to continue foregrounding diverse voices by championing artists from the global majority and LGBTQIA+ communities and exploring alternative or unseen histories. This could involve highlighting mid- or late-career practitioners who deserve wider recognition, as well as thematic or group exhibitions that interrogate overlooked narratives and identities.

Beyond the visual arts, I’m keen to develop interdisciplinary and experimental programming that spans performance, music, film, and spoken word - bringing new energy to the galleries and prompting visitors to experience art in multi-sensory, participatory ways. Ultimately, I want the Kunsthall to be a space where discovery and dialogue are constant, where every visit feels like an invitation into something new.