#98: The success of it will not lie in the result but in the process.|#36: We support production separately.|#32: Be pan-gender polyphonic.|#30: Don’t work with artists who are assholes.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#59: Always protect the floor when painting (or pouring concrete)|#19: Have fun at the exhibition.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#91: Embrace doubt.|#119: Be a space of production.|#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.|#51: How do we invite the true unknown?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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|#15: Kunsthal Gent aims to be an extension of public space.|#132: Things will always look weird when you’re the first doing it.|#56: Take a lunch break.|#84: The White Cube is a lie.|#137: Use the publication as programming space|#61: No all male install teams.|#40: Follow the artist|#55: Keep basic human needs on the forefront.|#16: Kunsthal Gent will always be a construction site.|#98: The success of it will not lie in the result but in the process.|#36: We support production separately.|#32: Be pan-gender polyphonic.|#30: Don’t work with artists who are assholes.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#59: Always protect the floor when painting (or pouring concrete)|#19: Have fun at the exhibition.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#91: Embrace doubt.|#119: Be a space of production.|#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.|#51: How do we invite the true unknown?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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|#15: Kunsthal Gent aims to be an extension of public space.|#132: Things will always look weird when you’re the first doing it.|#56: Take a lunch break.|#84: The White Cube is a lie.|#137: Use the publication as programming space|#61: No all male install teams.|#40: Follow the artist|#55: Keep basic human needs on the forefront.|#16: Kunsthal Gent will always be a construction site.|
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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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