#119: Be a space of production.|#44: No name tags at dinner.|#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.|#82: Clean and sterile looks professional, but really boring.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#124: Do less, do it better.|#65: No excuses: Thursday morning, team meeting.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#29: We make the program for the artist that we exhibit.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#14: Can you also remain a toddler institution?|#19: Have fun at the exhibition.|#15: Kunsthal Gent aims to be an extension of public space.|#99: Evolve according to changing needs.|#10: Don’t be obsessed with numbers.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#112: Spaces today don’t need to be curated, but occupied.|#127: Remain practical: what happens to the work in an endless exhibition?|#107: Build a community / scene.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#4: Pay what you can.|#6: Demand that visitors are active.|#53: Immaterial support for artists is important.|#28: Make Contracts.|#34: We pay artists.|#62: Don’t be a dick. Full dishwasher: empty it.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#74: Last one out turns of the lights.|#36: We support production separately.|#117: Consider design, organisational structures and architecture as programme.|#92: We’re a learning organisation.|#56: Take a lunch break.|#16: Kunsthal Gent will always be a construction site.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#2: Bring something new to the city of Ghent.|#59: Always protect the floor when painting (or pouring concrete)|#26: More artists, less borders.|#20: Are exhibitions the most suitable form for the art that we present?|#90: The best systems have a failure or ‘a hole’ in them…|#17: An exhibition is never finished.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#89: Build-in impurity within the organisation.|#51: How do we invite the true unknown?|#81: Things come alive when there is friction.|#84: The White Cube is a lie.|#105: Kunsthal Gent is local in scale, but globally connected.|#68: Once in a while we need to get out of utopia and get something done.|#94: No objections? Just do it.|#111: Do it together.|#64: Arrange a distribution of forces.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#32: Be pan-gender polyphonic.|#55: Keep basic human needs on the forefront.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#39: Be the early stepping stone in an artist’s career|#137: Use the publication as programming space|#35: The artist fee should be good.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#21: Live with the exhibition, spend time with it.|#37: Operate with radical transparency.|#91: Embrace doubt.|#98: The success of it will not lie in the result but in the process.|#30: Don’t work with artists who are assholes.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#54: What about disabled artists?|#132: Things will always look weird when you’re the first doing it.|#61: No all male install teams.|#40: Follow the artist|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#119: Be a space of production.|#44: No name tags at dinner.|#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.|#82: Clean and sterile looks professional, but really boring.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#124: Do less, do it better.|#65: No excuses: Thursday morning, team meeting.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#29: We make the program for the artist that we exhibit.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#14: Can you also remain a toddler institution?|#19: Have fun at the exhibition.|#15: Kunsthal Gent aims to be an extension of public space.|#99: Evolve according to changing needs.|#10: Don’t be obsessed with numbers.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#112: Spaces today don’t need to be curated, but occupied.|#127: Remain practical: what happens to the work in an endless exhibition?|#107: Build a community / scene.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#4: Pay what you can.|#6: Demand that visitors are active.|#53: Immaterial support for artists is important.|#28: Make Contracts.|#34: We pay artists.|#62: Don’t be a dick. Full dishwasher: empty it.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#74: Last one out turns of the lights.|#36: We support production separately.|#117: Consider design, organisational structures and architecture as programme.|#92: We’re a learning organisation.|#56: Take a lunch break.|#16: Kunsthal Gent will always be a construction site.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#2: Bring something new to the city of Ghent.|#59: Always protect the floor when painting (or pouring concrete)|#26: More artists, less borders.|#20: Are exhibitions the most suitable form for the art that we present?|#90: The best systems have a failure or ‘a hole’ in them…|#17: An exhibition is never finished.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#89: Build-in impurity within the organisation.|#51: How do we invite the true unknown?|#81: Things come alive when there is friction.|#84: The White Cube is a lie.|#105: Kunsthal Gent is local in scale, but globally connected.|#68: Once in a while we need to get out of utopia and get something done.|#94: No objections? Just do it.|#111: Do it together.|#64: Arrange a distribution of forces.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#32: Be pan-gender polyphonic.|#55: Keep basic human needs on the forefront.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#39: Be the early stepping stone in an artist’s career|#137: Use the publication as programming space|#35: The artist fee should be good.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#21: Live with the exhibition, spend time with it.|#37: Operate with radical transparency.|#91: Embrace doubt.|#98: The success of it will not lie in the result but in the process.|#30: Don’t work with artists who are assholes.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#54: What about disabled artists?|#132: Things will always look weird when you’re the first doing it.|#61: No all male install teams.|#40: Follow the artist|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|
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10.10—01.11.20

Evenement

De bibliotheek van Twee-eiige Drieling in Kunsthal Gent:
What's in a library? [UITGESTELD]

[UITGESTELD VANAF 31/10]

What's in a Library?
De bibliotheek van Twee-eiige Drieling (TWIIID) in Kunsthal Gent
Wekelijks op zaterdag van 11:00 -18:00 uur, 10 oktober t/m 5 december

Twee-eiige Drieling werkt op verschillende manieren als juridisch klankbord voor de cultuursector. Hun bibliotheek speelt daarbij een grote rol. Tijdschriften, boeken en naslagwerken zijn niet alleen autoritaire bronnen voor adviezen, maar inspireren visies en vormen (beleids)voorstellen. Daarom is het cruciaal deze verzameling continu tegen het licht te houden.

Voor Kunsthal Gent selecteerden ze een twintigtal werken die specifiek de nadruk leggen op juridische, socio-economische en/of artistieke vraagstukken die zich binnen of rondom, dankzij of ondanks een artistieke praktijk manifesteren. Ze gaan op zoek naar lezers om in deze verzameling ideeën, kritieken, interpretaties of referenties achter te laten. De achtergelaten opmerkingen worden gebundeld en vormen een appropriatie van het oorspronkelijke boek.

De bibliotheek linkt zo meer en meer actief statische literatuur aan de huidige juridische en socio-economische context. Het uitleenformulier informeert naar de identiteit en activiteiten van de lezer en verleent het nieuw samengestelde boek provenance.
De bibliotheek is open elke zaterdag tussen 11:00 en 18:00u. Wandel binnen om een boek uit te lenen, of contacteer hen via ask@twiiid.be.


Zaterdag 17.10, 14:00-17:00
What's in a Library? Directed by Allen Smithee


"We appreciate Smithee figuratively as a way to perform the conflicts and issues surrounding creative control and collective authorship." (Craig Saper in "Artificial Auteurism", Directed by Allen Smithee, p. 52)

De Amerikaanse Gilde van Regisseurs eist dat elke film een regisseur kent. Leden die hun naam liever niet verbonden zien aan een werk, moeten via een meticuleus proces en gedetailleerde vragenlijst bewijzen dat zij de creatieve controle zijn kwijtgeraakt over die film. Slechts met goedkeuring van de gilde kan het pseudoniem 'Allen Smithee' de naam van de regisseur vervangen. ‘Directed by Allen Smithee’ verzamelt een aantal essays over de waarde van de naam van de regisseur, de politique des auteurs van Truffaut, ‘signaturism’ en andere thema’s.

Twee-eiige Drieling neemt dit extreem gegeven uit de Amerikaanse audiovisuele productie om in Belgische/Europese context de rol van de regisseur in het productieproces te contextualiseren. We nodigen een producent (Peter Deuss) en scenarist (Bram Renders) uit om ‘Directed by Allen Smithee’ te lezen en te reflecteren over de hiërarchie van auteurs in een audiovisuele productie. Samen bespreken we de verschillen en gelijkenissen met ons continentaal moreel en audiovisueel auteursrecht, de rechtspraak, de sociale en economische dynamiek van het productieproces en de waarde van de naam van de regisseur in de marketing van de (commerciële) film.

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