#39: Be the early stepping stone in an artist’s career|#59: Always protect the floor when painting (or pouring concrete)|#64: Arrange a distribution of forces.|#29: We make the program for the artist that we exhibit.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#21: Live with the exhibition, spend time with it.|#20: Are exhibitions the most suitable form for the art that we present?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#30: Don’t work with artists who are assholes.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#119: Be a space of production.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#127: Remain practical: what happens to the work in an endless exhibition?|#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.|#81: Things come alive when there is friction.|#17: An exhibition is never finished.|#19: Have fun at the exhibition.|#14: Can you also remain a toddler institution?|#54: What about disabled artists?|#15: Kunsthal Gent aims to be an extension of public space.|#91: Embrace doubt.|#44: No name tags at dinner.|#90: The best systems have a failure or ‘a hole’ in them…|#124: Do less, do it better.|#39: Be the early stepping stone in an artist’s career|#59: Always protect the floor when painting (or pouring concrete)|#64: Arrange a distribution of forces.|#29: We make the program for the artist that we exhibit.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#21: Live with the exhibition, spend time with it.|#20: Are exhibitions the most suitable form for the art that we present?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#30: Don’t work with artists who are assholes.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#119: Be a space of production.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#127: Remain practical: what happens to the work in an endless exhibition?|#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.|#81: Things come alive when there is friction.|#17: An exhibition is never finished.|#19: Have fun at the exhibition.|#14: Can you also remain a toddler institution?|#54: What about disabled artists?|#15: Kunsthal Gent aims to be an extension of public space.|#91: Embrace doubt.|#44: No name tags at dinner.|#90: The best systems have a failure or ‘a hole’ in them…|#124: Do less, do it better.|
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09.04.2021 20:00

Online screening & conversation with Clemence Agnez

Pay what you can

EMILIE BROUT & MAXIME MARION:
A TRULY SHARED LOVE

Émilie Brout & Maxime Marion
online screening: A Truly Shared Love, 28'
& conversation with Clemence Agnez (co-director Glassbox, Paris)

As part of their residency in the Development programme, French artist duo Émilie Brout & Maxime Marion will screen their new film A Truly Shared Love, which investigates how technocapitalism can infiltrate every small aspect of our lives, and how it changes our perception of the world and of ourselves.

After the screening of A Truly Shared Love, the artists will have a conversation with Clemence Agnez, co-director of the art space Glassbox in Paris. The conversation starts in the air, 200 metres above Kunsthal. The camera and the conversation slowly descend into the former monastery.

A Truly Shared Love

A Truly Shared Love is a tragedy, and capitalism its curse. Emilie Brout & Maxime Marion show their true love story, surrounded by their cat and connected companions in their own domestic environment. Using the codes of commercial imagery of stock videos, they play with the normative and idealized representations of their genre, class and figure of artist as a model of the start-up nation that are usually conveyed there. Is there an alternative?

This piece marks an important step in the artists' practice. It could be summed up as an inextricable string game of relationships: relationships between partners of a couple, between intimate and public, leisure and work, data and synthesis, urban and vast "natural" spaces or even between species in the broadest sense... So many strata that are continuously contaminated at different levels. A constant and ambiguous space of negotiation is emerging, where the protagonists - like two drops evolving in an abyssal and paradoxically supersaturated void - desperately seek to preserve something singular beyond inaccessible representations, something that would escape any form of quantification or capitalization.

A Truly Shared Love
was produced with the support of the Fondation des Artistes, CNC/DICRéAM and Magnetic Bordeaux.


Émilie Brout & Maxime Marion

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.

Émilie Brout & Maxime Marion started their collaboration at the Ecole Nationale Supérieure des Arts Décoratifs de Paris. Their work was included in the Young Art Triennale, Casino Luxembourg (2021), the 5th Moscow Biennale for Young Art (2016) and numerous group exhibitions including those at Haus der Kulturen der Welt, Berlin; Centre Culturel Canadien, Paris (2020), Prix Sciences Po pour l'art contemporain , Paris (2019), Redline Contemporary Art Center, Denver (2018), Le Loft, Brussels (2017), OCAT Shenzhen (2016), Seongnam Art Center (2015) and Palais de Tokyo, Paris (2014). They have had solo exhibitions at 22,48 m², Paris (2013, 2015, 2017, 2019, 2021), La Chaufferie, Strasbourg; Pori Art Museum (2019), Villa du Parc, Annemasse (2018) and Steve Turner, Los Angeles (2017).

Clémence Agnez

After completing a double degree in Philosophy and Fine Arts, Clémence Agnez joined the artist-run space Glassbox (Paris) in 2011 and became its co-director in 2014. She is preparing a thesis in aesthetic and political philosophy at Paris X Nanterre under the supervision of Anne Sauvagnargues, entitled "Displacement and predation, contemporary museum techniques and desubjectivation of the figure of the artist". She teaches philosophy and topicality of art at the Duperré School of Art, at the University of Paris VIII Saint-Denis and at the Beaux-Arts de Montpellier (ESBA-MoCo), collaborates from time to time with the magazine Zérodeux and intervenes in various art schools and universities.

A Truly Shared Love videogramme 4

RELATED WORK PERIODS

IMAGES
A Truly Shared Love videogramme 6
A Truly Shared Love videogramme 11