#117: Consider design, organisational structures and architecture as programme.|#15: Kunsthal Gent aims to be an extension of public space.|#36: We support production separately.|#137: Use the publication as programming space|#35: The artist fee should be good.|#90: The best systems have a failure or ‘a hole’ in them…|#17: An exhibition is never finished.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#55: Keep basic human needs on the forefront.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#111: Do it together.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#62: Be kind. Full dishwasher: empty it.|#54: What about disabled artists?|#119: Be a space of production.|#4: Pay what you can.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#30: Don’t work with artists who are assholes.|#16: Kunsthal Gent will always be a construction site.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#53: Immaterial support for artists is important.|#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.|#117: Consider design, organisational structures and architecture as programme.|#15: Kunsthal Gent aims to be an extension of public space.|#36: We support production separately.|#137: Use the publication as programming space|#35: The artist fee should be good.|#90: The best systems have a failure or ‘a hole’ in them…|#17: An exhibition is never finished.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#55: Keep basic human needs on the forefront.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#111: Do it together.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#62: Be kind. Full dishwasher: empty it.|#54: What about disabled artists?|#119: Be a space of production.|#4: Pay what you can.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#30: Don’t work with artists who are assholes.|#16: Kunsthal Gent will always be a construction site.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#53: Immaterial support for artists is important.|#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.|
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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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