#74: Last one out turns of the lights.|#51: How do we invite the true unknown?|#56: Take a lunch break.|#137: Use the publication as programming space|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#10: Don’t be obsessed with numbers.|#40: Follow the artist|#81: Things come alive when there is friction.|#29: We make the program for the artist that we exhibit.|#61: No all male install teams.|#32: Be pan-gender polyphonic.|#117: Consider design, organisational structures and architecture as programme.|#68: Once in a while we need to get out of utopia and get something done.|#132: Things will always look weird when you’re the first doing it.|#53: Immaterial support for artists is important.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#4: Pay what you can.|#111: Do it together.|#91: Embrace doubt.|#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|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#119: Be a space of production.|#44: No name tags at dinner.|#21: Live with the exhibition, spend time with it.|#74: Last one out turns of the lights.|#51: How do we invite the true unknown?|#56: Take a lunch break.|#137: Use the publication as programming space|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#10: Don’t be obsessed with numbers.|#40: Follow the artist|#81: Things come alive when there is friction.|#29: We make the program for the artist that we exhibit.|#61: No all male install teams.|#32: Be pan-gender polyphonic.|#117: Consider design, organisational structures and architecture as programme.|#68: Once in a while we need to get out of utopia and get something done.|#132: Things will always look weird when you’re the first doing it.|#53: Immaterial support for artists is important.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#4: Pay what you can.|#111: Do it together.|#91: Embrace doubt.|#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|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#119: Be a space of production.|#44: No name tags at dinner.|#21: Live with the exhibition, spend time with it.|
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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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