#117: Consider design, organisational structures and architecture as programme.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#112: Spaces today don’t need to be curated, but occupied.|#55: Keep basic human needs on the forefront.|#92: We’re a learning organisation.|#39: Be the early stepping stone in an artist’s career|#40: Follow the artist|#90: The best systems have a failure or ‘a hole’ in them…|#68: Once in a while we need to get out of utopia and get something done.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#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.|#84: The White Cube is a lie.|#64: Arrange a distribution of forces.|#44: No name tags at dinner.|#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|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#111: Do it together.|#37: Operate with radical transparency.|#107: Build a community / scene.|#56: Take a lunch break.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#105: Kunsthal Gent is local in scale, but globally connected.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#117: Consider design, organisational structures and architecture as programme.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#112: Spaces today don’t need to be curated, but occupied.|#55: Keep basic human needs on the forefront.|#92: We’re a learning organisation.|#39: Be the early stepping stone in an artist’s career|#40: Follow the artist|#90: The best systems have a failure or ‘a hole’ in them…|#68: Once in a while we need to get out of utopia and get something done.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#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.|#84: The White Cube is a lie.|#64: Arrange a distribution of forces.|#44: No name tags at dinner.|#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|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#111: Do it together.|#37: Operate with radical transparency.|#107: Build a community / scene.|#56: Take a lunch break.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#105: Kunsthal Gent is local in scale, but globally connected.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|
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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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