#111: Do it together.|#112: Spaces today don’t need to be curated, but occupied.|#90: The best systems have a failure or ‘a hole’ in them…|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#68: Once in a while we need to get out of utopia and get something done.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#117: Consider design, organisational structures and architecture as programme.|#59: Always protect the floor when painting (or pouring concrete)|#4: Pay what you can.|#44: No name tags at dinner.|#55: Keep basic human needs on the forefront.|#132: Things will always look weird when you’re the first doing it.|#36: We support production separately.|#30: Don’t work with artists who are assholes.|#17: An exhibition is never finished.|#61: No all male install teams.|#21: Live with the exhibition, spend time with it.|#6: Demand that visitors are active.|#74: Last one out turns of the lights.|#40: Follow the artist|#56: Take a lunch break.|#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.|#137: Use the publication as programming space|#111: Do it together.|#112: Spaces today don’t need to be curated, but occupied.|#90: The best systems have a failure or ‘a hole’ in them…|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#68: Once in a while we need to get out of utopia and get something done.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#117: Consider design, organisational structures and architecture as programme.|#59: Always protect the floor when painting (or pouring concrete)|#4: Pay what you can.|#44: No name tags at dinner.|#55: Keep basic human needs on the forefront.|#132: Things will always look weird when you’re the first doing it.|#36: We support production separately.|#30: Don’t work with artists who are assholes.|#17: An exhibition is never finished.|#61: No all male install teams.|#21: Live with the exhibition, spend time with it.|#6: Demand that visitors are active.|#74: Last one out turns of the lights.|#40: Follow the artist|#56: Take a lunch break.|#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.|#137: Use the publication as programming space|
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06.11.2020 20:00

Film screening (parallel to Vedran Kopljar's exhibition in CONVENT)

Pay what you can

CONVENT presenteert:
Vedran Kopljar - Meeting Untitled [UITGESTELD]

[POSTPONED]

Friday 6 November, 20:00
CONVENT presents:
Vedran Kopljar - Meeting Untitled
Film screening

Make a reservation


On the occasion of the exhibition CENTER (PLURAL) by Vedran Kopljar at Convent (until 13 December 2020) Convent presents the screening of Meeting Untitled, Kopljar's first film, in Kunsthal Gent.

Under the guise of the Plank Communication Center, Kopljar investigates what it can mean to relate for a long time to the characteristic 'plankworks' of the American artist John McCracken. At the basis of this lies Kopljar's fascination for the different ways in which meaning can be generated between art object and viewer.

In May 2019 Kopljar came into physical contact with a McCracken plank for the first time. In the depot of S.M.A.K., the museum of contemporary art, Ghent, he met the monochrome red plank Center, from 1989, from the museum's collection. Later that year Kopljar went to New York to continue the activities of his artistic research centre as an artist in residence at Residency Unlimited. Through the David Zwirner Gallery he gained access to McCracken's archive and also met two of his planks in the gallery's viewing room. The film Meeting Untitled documents this special event in New York, which can be seen as a slow, intimate performance, in which the artist, often in silence, simply spends time with McCracken's works.


Vedran Kopljar
, born in Slavonski Brod, Croatia, lives and works in Antwerp, where he obtained a master’s degree in painting at the Royal Academy of Fine Arts in 2015.

The exhibition in Convent runs until 13 December and can be visited on every Sunday between 2-6 pm and by appointment.

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