#39: Be the early stepping stone in an artist’s career|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#17: An exhibition is never finished.|#44: No name tags at dinner.|#62: Be kind. Full dishwasher: empty it.|#15: Kunsthal Gent aims to be an extension of public space.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#53: Immaterial support for artists is important.|#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.|#117: Consider design, organisational structures and architecture as programme.|#119: Be a space of production.|#35: The artist fee should be good.|#107: Build a community / scene.|#21: Live with the exhibition, spend time with it.|#20: Are exhibitions the most suitable form for the art that we present?|#105: Kunsthal Gent is local in scale, but globally connected.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#4: Pay what you can.|#74: Last one out turns of the lights.|#68: Once in a while we need to get out of utopia and get something done.|#14: Can you also remain a toddler institution?|#39: Be the early stepping stone in an artist’s career|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#17: An exhibition is never finished.|#44: No name tags at dinner.|#62: Be kind. Full dishwasher: empty it.|#15: Kunsthal Gent aims to be an extension of public space.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#53: Immaterial support for artists is important.|#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.|#117: Consider design, organisational structures and architecture as programme.|#119: Be a space of production.|#35: The artist fee should be good.|#107: Build a community / scene.|#21: Live with the exhibition, spend time with it.|#20: Are exhibitions the most suitable form for the art that we present?|#105: Kunsthal Gent is local in scale, but globally connected.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#4: Pay what you can.|#74: Last one out turns of the lights.|#68: Once in a while we need to get out of utopia and get something done.|#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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