#59: Always protect the floor when painting (or pouring concrete)|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#124: Do less, do it better.|#62: Don’t be a dick. Full dishwasher: empty it.|#98: The success of it will not lie in the result but in the process.|#20: Are exhibitions the most suitable form for the art that we present?|#34: We pay artists.|#82: Clean and sterile looks professional, but really boring.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#26: More artists, less borders.|#111: Do it together.|#119: Be a space of production.|#91: Embrace doubt.|#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|#117: Consider design, organisational structures and architecture as programme.|#127: Remain practical: what happens to the work in an endless exhibition?|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#94: No objections? Just do it.|#6: Demand that visitors are active.|#40: Follow the artist|#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.|#21: Live with the exhibition, spend time with it.|#4: Pay what you can.|#15: Kunsthal Gent aims to be an extension of public space.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#19: Have fun at the exhibition.|#90: The best systems have a failure or ‘a hole’ in them…|#137: Use the publication as programming space|#16: Kunsthal Gent will always be a construction site.|#55: Keep basic human needs on the forefront.|#37: Operate with radical transparency.|#35: The artist fee should be good.|#68: Once in a while we need to get out of utopia and get something done.|#56: Take a lunch break.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#132: Things will always look weird when you’re the first doing it.|#29: We make the program for the artist that we exhibit.|#51: How do we invite the true unknown?|#32: Be pan-gender polyphonic.|#10: Don’t be obsessed with numbers.|#61: No all male install teams.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#54: What about disabled artists?|#99: Evolve according to changing needs.|#89: Build-in impurity within the organisation.|#64: Arrange a distribution of forces.|#81: Things come alive when there is friction.|#107: Build a community / scene.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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.|#105: Kunsthal Gent is local in scale, but globally connected.|#36: We support production separately.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#92: We’re a learning organisation.|#28: Make Contracts.|#53: Immaterial support for artists is important.|#14: Can you also remain a toddler institution?|#44: No name tags at dinner.|#65: No excuses: Thursday morning, team meeting.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#84: The White Cube is a lie.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#17: An exhibition is never finished.|#39: Be the early stepping stone in an artist’s career|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#74: Last one out turns of the lights.|#112: Spaces today don’t need to be curated, but occupied.|#2: Bring something new to the city of Ghent.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#30: Don’t work with artists who are assholes.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#59: Always protect the floor when painting (or pouring concrete)|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#124: Do less, do it better.|#62: Don’t be a dick. Full dishwasher: empty it.|#98: The success of it will not lie in the result but in the process.|#20: Are exhibitions the most suitable form for the art that we present?|#34: We pay artists.|#82: Clean and sterile looks professional, but really boring.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#26: More artists, less borders.|#111: Do it together.|#119: Be a space of production.|#91: Embrace doubt.|#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|#117: Consider design, organisational structures and architecture as programme.|#127: Remain practical: what happens to the work in an endless exhibition?|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#94: No objections? Just do it.|#6: Demand that visitors are active.|#40: Follow the artist|#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.|#21: Live with the exhibition, spend time with it.|#4: Pay what you can.|#15: Kunsthal Gent aims to be an extension of public space.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#19: Have fun at the exhibition.|#90: The best systems have a failure or ‘a hole’ in them…|#137: Use the publication as programming space|#16: Kunsthal Gent will always be a construction site.|#55: Keep basic human needs on the forefront.|#37: Operate with radical transparency.|#35: The artist fee should be good.|#68: Once in a while we need to get out of utopia and get something done.|#56: Take a lunch break.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#132: Things will always look weird when you’re the first doing it.|#29: We make the program for the artist that we exhibit.|#51: How do we invite the true unknown?|#32: Be pan-gender polyphonic.|#10: Don’t be obsessed with numbers.|#61: No all male install teams.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#54: What about disabled artists?|#99: Evolve according to changing needs.|#89: Build-in impurity within the organisation.|#64: Arrange a distribution of forces.|#81: Things come alive when there is friction.|#107: Build a community / scene.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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.|#105: Kunsthal Gent is local in scale, but globally connected.|#36: We support production separately.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#92: We’re a learning organisation.|#28: Make Contracts.|#53: Immaterial support for artists is important.|#14: Can you also remain a toddler institution?|#44: No name tags at dinner.|#65: No excuses: Thursday morning, team meeting.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#84: The White Cube is a lie.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#17: An exhibition is never finished.|#39: Be the early stepping stone in an artist’s career|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#74: Last one out turns of the lights.|#112: Spaces today don’t need to be curated, but occupied.|#2: Bring something new to the city of Ghent.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#30: Don’t work with artists who are assholes.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|
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Émilie Brout & Maxime Marion

Work period in Kunsthal Gent: 01.03.2020 - 21.03.2021

The practice of Émilie Brout & Maxime Marion (1984 and 1982, living and working in Paris) focuses on the culture and use of the web: they often work with and around the internet. Their work takes shape in different media, but they particularly explore the medium of video, whose boundaries they explore through non-linear storylines, endless videos, and the context in which the work is shown. Through careful deciphering, they try to identify the economic, political and legal specificities of existing systems or structures before infiltrating them, leaving traces or reporting on them in their work, sometimes with narrative forms. In Kunsthal Gent they will make a new film in which they investigate how technocapitalism can infiltrate every small aspect of our lives, and how it changes our perception of the world and of ourselves. Parallel to this, they will develop discrete installations that question the exhibition space.

After studying with ENSA Nancy and ESA in Aix-en-Provence, they spent two years at the EnsadLab research laboratory of the Ecole Nationale Supérieure des Arts Décoratifs in Paris, where their collaboration began. Their work has been awarded by the François Schneider Foundation Prize (2011), the Arte Laguna Digital Art Prize (2014) and the Sciences Po Public Prize for Contemporary Art (2019), and is part of the collections of FRAC Aquitaine and Poitou-Charentes. Recent solo exhibitions include gallery 22.48 m2 , Paris (2019), Villa du Parc, Annemasse (2018), Pori Art Museum, Pori, Finland (2018) and Steve Turner Gallery, Los Angeles, United States (2017).

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