#55: Keep basic human needs on the forefront.|#19: Have fun at the exhibition.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#105: Kunsthal Gent is local in scale, but globally connected.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#59: Always protect the floor when painting (or pouring concrete)|#119: Be a space of production.|#36: We support production separately.|#111: Do it together.|#62: Be kind. Full dishwasher: empty it.|#112: Spaces today don’t need to be curated, but occupied.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#137: Use the publication as programming space|#32: Be pan-gender polyphonic.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#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.|#30: Don’t work with artists who are assholes.|#132: Things will always look weird when you’re the first doing it.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#64: Arrange a distribution of forces.|#124: Do less, do it better.|#90: The best systems have a failure or ‘a hole’ in them…|#92: We’re a learning organisation.|#34: We pay artists.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#55: Keep basic human needs on the forefront.|#19: Have fun at the exhibition.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#105: Kunsthal Gent is local in scale, but globally connected.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#59: Always protect the floor when painting (or pouring concrete)|#119: Be a space of production.|#36: We support production separately.|#111: Do it together.|#62: Be kind. Full dishwasher: empty it.|#112: Spaces today don’t need to be curated, but occupied.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#137: Use the publication as programming space|#32: Be pan-gender polyphonic.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#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.|#30: Don’t work with artists who are assholes.|#132: Things will always look weird when you’re the first doing it.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#64: Arrange a distribution of forces.|#124: Do less, do it better.|#90: The best systems have a failure or ‘a hole’ in them…|#92: We’re a learning organisation.|#34: We pay artists.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|
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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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