#61: No all male install teams.|#32: Be pan-gender polyphonic.|#99: Evolve according to changing needs.|#81: Things come alive when there is friction.|#39: Be the early stepping stone in an artist’s career|#124: Do less, do it better.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#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.|#119: Be a space of production.|#111: Do it together.|#98: The success of it will not lie in the result but in the process.|#53: Immaterial support for artists is important.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#21: Live with the exhibition, spend time with it.|#4: Pay what you can.|#117: Consider design, organisational structures and architecture as programme.|#37: Operate with radical transparency.|#29: We make the program for the artist that we exhibit.|#30: Don’t work with artists who are assholes.|#20: Are exhibitions the most suitable form for the art that we present?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#92: We’re a learning organisation.|#14: Can you also remain a toddler institution?|#61: No all male install teams.|#32: Be pan-gender polyphonic.|#99: Evolve according to changing needs.|#81: Things come alive when there is friction.|#39: Be the early stepping stone in an artist’s career|#124: Do less, do it better.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#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.|#119: Be a space of production.|#111: Do it together.|#98: The success of it will not lie in the result but in the process.|#53: Immaterial support for artists is important.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#21: Live with the exhibition, spend time with it.|#4: Pay what you can.|#117: Consider design, organisational structures and architecture as programme.|#37: Operate with radical transparency.|#29: We make the program for the artist that we exhibit.|#30: Don’t work with artists who are assholes.|#20: Are exhibitions the most suitable form for the art that we present?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#92: We’re a learning organisation.|#14: Can you also remain a toddler institution?|
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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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