#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#127: Remain practical: what happens to the work in an endless exhibition?|#19: Have fun at the exhibition.|#74: Last one out turns of the lights.|#14: Can you also remain a toddler institution?|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#54: What about disabled artists?|#119: Be a space of production.|#81: Things come alive when there is friction.|#111: Do it together.|#62: Be kind. Full dishwasher: empty it.|#36: We support production separately.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#68: Once in a while we need to get out of utopia and get something done.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#51: How do we invite the true unknown?|#99: Evolve according to changing needs.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#26: More artists, less borders.|#82: Clean and sterile looks professional, but really boring.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#127: Remain practical: what happens to the work in an endless exhibition?|#19: Have fun at the exhibition.|#74: Last one out turns of the lights.|#14: Can you also remain a toddler institution?|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#54: What about disabled artists?|#119: Be a space of production.|#81: Things come alive when there is friction.|#111: Do it together.|#62: Be kind. Full dishwasher: empty it.|#36: We support production separately.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#68: Once in a while we need to get out of utopia and get something done.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#51: How do we invite the true unknown?|#99: Evolve according to changing needs.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#26: More artists, less borders.|#82: Clean and sterile looks professional, but really boring.|
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30.11.2018 00:00

De geschiedenis en de toekomst van het Caermersklooster + film ‘Malpertuis’ (BE 1971)

Pay what you can

Talk + Film:
De Geheime Levens van Gebouwen

Roger Van Bockstaele (*1923, Honorary Dean, Deanery of the Patershol neighbourhood) gives a short lecture on the history of the Caermersklooster (from 1287 to current times). Next, artist/architect Olivier Goethals shows a large-scale model of the first scenographic interventions that will be added to the history of the building from December onwards. Followed by an informal conversation with the public: how do we write a history of the Caermersklooster?

After the break we will show 2 films:

  • The short dance film 'GENT, 10 JUNI 1989, VOOR GERALDINE NEREA' (5 min) by Jan Vromman, filmed in the large church before the renovations of the Caermersklooster. A choreography by Alain Platel, with a young Johan Gimonprez.
  • The Flemish film Malpertuis (1971, 119 min) by Harry Kümel, in which the monumental 18th century wooden staircase of the Caermersklooster plays an important role, as does Orson Welles. The film was recorded in the Patershol (the area of Caermersklooster) and is set in a gigantic house with an endless criss-cross of corridors, floors and rooms, including a tower that reaches to the sky and deep under the ground.
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