#3: Entrance to all exhibitions at Kunsthal Gent is free.|#59: Always protect the floor when painting (or pouring concrete)|#124: Do less, do it better.|#74: Last one out turns of the lights.|#4: Pay what you can.|#44: No name tags at dinner.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#81: Things come alive when there is friction.|#61: No all male install teams.|#16: Kunsthal Gent will always be a construction site.|#32: Be pan-gender polyphonic.|#40: Follow the artist|#35: The artist fee should be good.|#68: Once in a while we need to get out of utopia and get something done.|#34: We pay artists.|#64: Arrange a distribution of forces.|#28: Make Contracts.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#89: Build-in impurity within the organisation.|#117: Consider design, organisational structures and architecture as programme.|#94: No objections? Just do it.|#54: What about disabled artists?|#91: Embrace doubt.|#98: The success of it will not lie in the result but in the process.|#65: No excuses: Thursday morning, team meeting.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#59: Always protect the floor when painting (or pouring concrete)|#124: Do less, do it better.|#74: Last one out turns of the lights.|#4: Pay what you can.|#44: No name tags at dinner.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#81: Things come alive when there is friction.|#61: No all male install teams.|#16: Kunsthal Gent will always be a construction site.|#32: Be pan-gender polyphonic.|#40: Follow the artist|#35: The artist fee should be good.|#68: Once in a while we need to get out of utopia and get something done.|#34: We pay artists.|#64: Arrange a distribution of forces.|#28: Make Contracts.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#89: Build-in impurity within the organisation.|#117: Consider design, organisational structures and architecture as programme.|#94: No objections? Just do it.|#54: What about disabled artists?|#91: Embrace doubt.|#98: The success of it will not lie in the result but in the process.|#65: No excuses: Thursday morning, team meeting.|
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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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