#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#29: We make the program for the artist that we exhibit.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#65: No excuses: Thursday morning, team meeting.|#14: Can you also remain a toddler institution?|#35: The artist fee should be good.|#17: An exhibition is never finished.|#26: More artists, less borders.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#68: Once in a while we need to get out of utopia and get something done.|#98: The success of it will not lie in the result but in the process.|#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|#44: No name tags at dinner.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#74: Last one out turns of the lights.|#92: We’re a learning organisation.|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#90: The best systems have a failure or ‘a hole’ in them…|#51: How do we invite the true unknown?|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#32: Be pan-gender polyphonic.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#20: Are exhibitions the most suitable form for the art that we present?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#29: We make the program for the artist that we exhibit.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#65: No excuses: Thursday morning, team meeting.|#14: Can you also remain a toddler institution?|#35: The artist fee should be good.|#17: An exhibition is never finished.|#26: More artists, less borders.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#68: Once in a while we need to get out of utopia and get something done.|#98: The success of it will not lie in the result but in the process.|#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|#44: No name tags at dinner.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#74: Last one out turns of the lights.|#92: We’re a learning organisation.|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#90: The best systems have a failure or ‘a hole’ in them…|#51: How do we invite the true unknown?|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#32: Be pan-gender polyphonic.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#20: Are exhibitions the most suitable form for the art that we present?|
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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.
MDC_KH_30112018_001_HR