#89: Build-in impurity within the organisation.|#14: Can you also remain a toddler institution?|#2: Bring something new to the city of Ghent.|#29: We make the program for the artist that we exhibit.|#84: The White Cube is a lie.|#99: Evolve according to changing needs.|#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.|#117: Consider design, organisational structures and architecture as programme.|#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.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#17: An exhibition is never finished.|#40: Follow the artist|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#127: Remain practical: what happens to the work in an endless exhibition?|#90: The best systems have a failure or ‘a hole’ in them…|#20: Are exhibitions the most suitable form for the art that we present?|#111: Do it together.|#53: Immaterial support for artists is important.|#82: Clean and sterile looks professional, but really boring.|#44: No name tags at dinner.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#34: We pay artists.|#35: The artist fee should be good.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#81: Things come alive when there is friction.|#64: Arrange a distribution of forces.|#30: Don’t work with artists who are assholes.|#4: Pay what you can.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#6: Demand that visitors are active.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#39: Be the early stepping stone in an artist’s career|#107: Build a community / scene.|#10: Don’t be obsessed with numbers.|#26: More artists, less borders.|#55: Keep basic human needs on the forefront.|#112: Spaces today don’t need to be curated, but occupied.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#61: No all male install teams.|#59: Always protect the floor when painting (or pouring concrete)|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#15: Kunsthal Gent aims to be an extension of public space.|#54: What about disabled artists?|#65: No excuses: Thursday morning, team meeting.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#92: We’re a learning organisation.|#137: Use the publication as programming space|#19: Have fun at the exhibition.|#56: Take a lunch break.|#105: Kunsthal Gent is local in scale, but globally connected.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#37: Operate with radical transparency.|#21: Live with the exhibition, spend time with it.|#94: No objections? Just do it.|#36: We support production separately.|#51: How do we invite the true unknown?|#62: Don’t be a dick. Full dishwasher: empty it.|#91: Embrace doubt.|#98: The success of it will not lie in the result but in the process.|#119: Be a space of production.|#132: Things will always look weird when you’re the first doing it.|#124: Do less, do it better.|#28: Make Contracts.|#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|#68: Once in a while we need to get out of utopia and get something done.|#74: Last one out turns of the lights.|#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.|#16: Kunsthal Gent will always be a construction site.|#89: Build-in impurity within the organisation.|#14: Can you also remain a toddler institution?|#2: Bring something new to the city of Ghent.|#29: We make the program for the artist that we exhibit.|#84: The White Cube is a lie.|#99: Evolve according to changing needs.|#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.|#117: Consider design, organisational structures and architecture as programme.|#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.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#17: An exhibition is never finished.|#40: Follow the artist|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#127: Remain practical: what happens to the work in an endless exhibition?|#90: The best systems have a failure or ‘a hole’ in them…|#20: Are exhibitions the most suitable form for the art that we present?|#111: Do it together.|#53: Immaterial support for artists is important.|#82: Clean and sterile looks professional, but really boring.|#44: No name tags at dinner.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#34: We pay artists.|#35: The artist fee should be good.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#81: Things come alive when there is friction.|#64: Arrange a distribution of forces.|#30: Don’t work with artists who are assholes.|#4: Pay what you can.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#6: Demand that visitors are active.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#39: Be the early stepping stone in an artist’s career|#107: Build a community / scene.|#10: Don’t be obsessed with numbers.|#26: More artists, less borders.|#55: Keep basic human needs on the forefront.|#112: Spaces today don’t need to be curated, but occupied.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#61: No all male install teams.|#59: Always protect the floor when painting (or pouring concrete)|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#15: Kunsthal Gent aims to be an extension of public space.|#54: What about disabled artists?|#65: No excuses: Thursday morning, team meeting.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#92: We’re a learning organisation.|#137: Use the publication as programming space|#19: Have fun at the exhibition.|#56: Take a lunch break.|#105: Kunsthal Gent is local in scale, but globally connected.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#37: Operate with radical transparency.|#21: Live with the exhibition, spend time with it.|#94: No objections? Just do it.|#36: We support production separately.|#51: How do we invite the true unknown?|#62: Don’t be a dick. Full dishwasher: empty it.|#91: Embrace doubt.|#98: The success of it will not lie in the result but in the process.|#119: Be a space of production.|#132: Things will always look weird when you’re the first doing it.|#124: Do less, do it better.|#28: Make Contracts.|#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|#68: Once in a while we need to get out of utopia and get something done.|#74: Last one out turns of the lights.|#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.|#16: Kunsthal Gent will always be a construction site.|
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10.10—01.11.2020 11:00

Wekelijks op zaterdag van 11:00 -18:00 uur, 10.10 t/m 5.12

Pay what you can

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.

TWIIID FACEBOOK PICTURES20191216