#124: Do less, do it better.|#6: Demand that visitors are active.|#55: Keep basic human needs on the forefront.|#54: What about disabled artists?|#92: We’re a learning organisation.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#2: Bring something new to the city of Ghent.|#36: We support production separately.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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.|#32: Be pan-gender polyphonic.|#105: Kunsthal Gent is local in scale, but globally connected.|#111: Do it together.|#107: Build a community / scene.|#4: Pay what you can.|#89: Build-in impurity within the organisation.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#132: Things will always look weird when you’re the first doing it.|#117: Consider design, organisational structures and architecture as programme.|#91: Embrace doubt.|#15: Kunsthal Gent aims to be an extension of public space.|#127: Remain practical: what happens to the work in an endless exhibition?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#35: The artist fee should be good.|#84: The White Cube is a lie.|#124: Do less, do it better.|#6: Demand that visitors are active.|#55: Keep basic human needs on the forefront.|#54: What about disabled artists?|#92: We’re a learning organisation.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#2: Bring something new to the city of Ghent.|#36: We support production separately.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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.|#32: Be pan-gender polyphonic.|#105: Kunsthal Gent is local in scale, but globally connected.|#111: Do it together.|#107: Build a community / scene.|#4: Pay what you can.|#89: Build-in impurity within the organisation.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#132: Things will always look weird when you’re the first doing it.|#117: Consider design, organisational structures and architecture as programme.|#91: Embrace doubt.|#15: Kunsthal Gent aims to be an extension of public space.|#127: Remain practical: what happens to the work in an endless exhibition?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#35: The artist fee should be good.|#84: The White Cube is a lie.|
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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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