#111: Do it together.|#82: Clean and sterile looks professional, but really boring.|#98: The success of it will not lie in the result but in the process.|#62: Be kind. Full dishwasher: empty it.|#20: Are exhibitions the most suitable form for the art that we present?|#65: No excuses: Thursday morning, team meeting.|#112: Spaces today don’t need to be curated, but occupied.|#14: Can you also remain a toddler institution?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#35: The artist fee should be good.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#68: Once in a while we need to get out of utopia and get something done.|#84: The White Cube is a lie.|#26: More artists, less borders.|#105: Kunsthal Gent is local in scale, but globally connected.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#34: We pay artists.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#4: Pay what you can.|#44: No name tags at dinner.|#90: The best systems have a failure or ‘a hole’ in them…|#94: No objections? Just do it.|#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|#54: What about disabled artists?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#111: Do it together.|#82: Clean and sterile looks professional, but really boring.|#98: The success of it will not lie in the result but in the process.|#62: Be kind. Full dishwasher: empty it.|#20: Are exhibitions the most suitable form for the art that we present?|#65: No excuses: Thursday morning, team meeting.|#112: Spaces today don’t need to be curated, but occupied.|#14: Can you also remain a toddler institution?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#35: The artist fee should be good.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#68: Once in a while we need to get out of utopia and get something done.|#84: The White Cube is a lie.|#26: More artists, less borders.|#105: Kunsthal Gent is local in scale, but globally connected.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#34: We pay artists.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#4: Pay what you can.|#44: No name tags at dinner.|#90: The best systems have a failure or ‘a hole’ in them…|#94: No objections? Just do it.|#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|#54: What about disabled artists?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|
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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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