#132: Things will always look weird when you’re the first doing it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#64: Arrange a distribution of forces.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#81: Things come alive when there is friction.|#65: No excuses: Thursday morning, team meeting.|#62: Be kind. Full dishwasher: empty it.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#14: Can you also remain a toddler institution?|#37: Operate with radical transparency.|#59: Always protect the floor when painting (or pouring concrete)|#111: Do it together.|#94: No objections? Just do it.|#44: No name tags at dinner.|#19: Have fun at the exhibition.|#4: Pay what you can.|#10: Don’t be obsessed with numbers.|#90: The best systems have a failure or ‘a hole’ in them…|#29: We make the program for the artist that we exhibit.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#105: Kunsthal Gent is local in scale, but globally connected.|#6: Demand that visitors are active.|#117: Consider design, organisational structures and architecture as programme.|#15: Kunsthal Gent aims to be an extension of public space.|#53: Immaterial support for artists is important.|#132: Things will always look weird when you’re the first doing it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#64: Arrange a distribution of forces.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#81: Things come alive when there is friction.|#65: No excuses: Thursday morning, team meeting.|#62: Be kind. Full dishwasher: empty it.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#14: Can you also remain a toddler institution?|#37: Operate with radical transparency.|#59: Always protect the floor when painting (or pouring concrete)|#111: Do it together.|#94: No objections? Just do it.|#44: No name tags at dinner.|#19: Have fun at the exhibition.|#4: Pay what you can.|#10: Don’t be obsessed with numbers.|#90: The best systems have a failure or ‘a hole’ in them…|#29: We make the program for the artist that we exhibit.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#105: Kunsthal Gent is local in scale, but globally connected.|#6: Demand that visitors are active.|#117: Consider design, organisational structures and architecture as programme.|#15: Kunsthal Gent aims to be an extension of public space.|#53: Immaterial support for artists is important.|
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30.11.2018 00:00

The history and future of the Caermersklooster

Pay what you can

Talk + Film:
De Geheime Levens van Gebouwen

Roger Van Bockstaele (*1923, eredeken, Dekenij Patershol) geeft een korte lezing over de geschiedenis van het Caermersklooster (van 1287 tot heden.) Daarna stelt kunstenaar/architect Olivier Goethals aan de hand van een grote maquette de eerste scenografische ingrepen voor die vanaf december aan de geschiedenis van het gebouw worden toegevoegd. Aansluitend een informeel gesprek met publiek: hoe schrijven we een geschiedenis van het Caermersklooster?

Na de pauze tonen we 2 films:

  • De korte dansfilm 'GENT, 10 JUNI 1989, VOOR GERALDINE NEREA' (5 min) van Jan Vromman, opgenomen in de grote kerk vóór de renovatie van het Caermersklooster. Een choreografie van Alain Platel, met onder meer een jonge Johan Gimonprez.
  • De Vlaamse speelfilm Malpertuis (1971, 119 min) van Harry Kümel, waarin - naast Orson Welles - de monumentale 18e-eeuwse houten trap van het Caermersklooster een belangrijke rol speelt. De film werd onder meer opgenomen in het Patershol en speelt in een gigantisch huis met een eindeloze wirwar van gangen, etages en kamers, inclusief een toren die tot aan de hemel en diep onder de grond reikt.
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