#20: Are exhibitions the most suitable form for the art that we present?|#99: Evolve according to changing needs.|#105: Kunsthal Gent is local in scale, but globally connected.|#32: Be pan-gender polyphonic.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#107: Build a community / scene.|#29: We make the program for the artist that we exhibit.|#61: No all male install teams.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#39: Be the early stepping stone in an artist’s career|#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.|#35: The artist fee should be good.|#127: Remain practical: what happens to the work in an endless exhibition?|#10: Don’t be obsessed with numbers.|#117: Consider design, organisational structures and architecture as programme.|#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.|#68: Once in a while we need to get out of utopia and get something done.|#92: We’re a learning organisation.|#84: The White Cube is a lie.|#91: Embrace doubt.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#21: Live with the exhibition, spend time with it.|#26: More artists, less borders.|#4: Pay what you can.|#20: Are exhibitions the most suitable form for the art that we present?|#99: Evolve according to changing needs.|#105: Kunsthal Gent is local in scale, but globally connected.|#32: Be pan-gender polyphonic.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#107: Build a community / scene.|#29: We make the program for the artist that we exhibit.|#61: No all male install teams.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#39: Be the early stepping stone in an artist’s career|#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.|#35: The artist fee should be good.|#127: Remain practical: what happens to the work in an endless exhibition?|#10: Don’t be obsessed with numbers.|#117: Consider design, organisational structures and architecture as programme.|#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.|#68: Once in a while we need to get out of utopia and get something done.|#92: We’re a learning organisation.|#84: The White Cube is a lie.|#91: Embrace doubt.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#21: Live with the exhibition, spend time with it.|#26: More artists, less borders.|#4: Pay what you can.|
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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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