#4: Pay what you can.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#53: Immaterial support for artists is important.|#55: Keep basic human needs on the forefront.|#36: We support production separately.|#92: We’re a learning organisation.|#117: Consider design, organisational structures and architecture as programme.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#28: Make Contracts.|#84: The White Cube is a lie.|#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.|#37: Operate with radical transparency.|#119: Be a space of production.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#14: Can you also remain a toddler institution?|#16: Kunsthal Gent will always be a construction site.|#98: The success of it will not lie in the result but in the process.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#132: Things will always look weird when you’re the first doing it.|#111: Do it together.|#64: Arrange a distribution of forces.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#39: Be the early stepping stone in an artist’s career|#4: Pay what you can.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#53: Immaterial support for artists is important.|#55: Keep basic human needs on the forefront.|#36: We support production separately.|#92: We’re a learning organisation.|#117: Consider design, organisational structures and architecture as programme.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#28: Make Contracts.|#84: The White Cube is a lie.|#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.|#37: Operate with radical transparency.|#119: Be a space of production.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#14: Can you also remain a toddler institution?|#16: Kunsthal Gent will always be a construction site.|#98: The success of it will not lie in the result but in the process.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#132: Things will always look weird when you’re the first doing it.|#111: Do it together.|#64: Arrange a distribution of forces.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#39: Be the early stepping stone in an artist’s career|
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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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