#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.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#64: Arrange a distribution of forces.|#44: No name tags at dinner.|#137: Use the publication as programming space|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#56: Take a lunch break.|#111: Do it together.|#54: What about disabled artists?|#117: Consider design, organisational structures and architecture as programme.|#4: Pay what you can.|#10: Don’t be obsessed with numbers.|#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|#74: Last one out turns of the lights.|#21: Live with the exhibition, spend time with it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#40: Follow the artist|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#37: Operate with radical transparency.|#30: Don’t work with artists who are assholes.|#94: No objections? Just do it.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#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.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#64: Arrange a distribution of forces.|#44: No name tags at dinner.|#137: Use the publication as programming space|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#56: Take a lunch break.|#111: Do it together.|#54: What about disabled artists?|#117: Consider design, organisational structures and architecture as programme.|#4: Pay what you can.|#10: Don’t be obsessed with numbers.|#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|#74: Last one out turns of the lights.|#21: Live with the exhibition, spend time with it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#40: Follow the artist|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#37: Operate with radical transparency.|#30: Don’t work with artists who are assholes.|#94: No objections? Just do it.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|
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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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