#59: Always protect the floor when painting (or pouring concrete)|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#28: Make Contracts.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#132: Things will always look weird when you’re the first doing it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#14: Can you also remain a toddler institution?|#92: We’re a learning organisation.|#90: The best systems have a failure or ‘a hole’ in them…|#4: Pay what you can.|#91: Embrace doubt.|#35: The artist fee should be good.|#89: Build-in impurity within the organisation.|#40: Follow the artist|#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|#17: An exhibition is never finished.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#84: The White Cube is a lie.|#137: Use the publication as programming space|#119: Be a space of production.|#53: Immaterial support for artists is important.|#127: Remain practical: what happens to the work in an endless exhibition?|#56: Take a lunch break.|#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)|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#28: Make Contracts.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#132: Things will always look weird when you’re the first doing it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#14: Can you also remain a toddler institution?|#92: We’re a learning organisation.|#90: The best systems have a failure or ‘a hole’ in them…|#4: Pay what you can.|#91: Embrace doubt.|#35: The artist fee should be good.|#89: Build-in impurity within the organisation.|#40: Follow the artist|#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|#17: An exhibition is never finished.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#84: The White Cube is a lie.|#137: Use the publication as programming space|#119: Be a space of production.|#53: Immaterial support for artists is important.|#127: Remain practical: what happens to the work in an endless exhibition?|#56: Take a lunch break.|#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.|
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10.10—01.11.2020 11:00

Weekly on Saturdays, 11:00 -18:00h, from 10.10 to 5.12

Pay what you can

TWIIID's library in Kunsthal Gent:
What's in a library? [UITGESTELD]

[POSTPONED FROM 31/10]

What's in a Library?
The library of Tweeeiige Drieling (TWIIID) in Kunsthal Gent
Weekly on Saturdays from 11:00 -18:00, 10 October to 5 December

Tweeeiige Drieling (TWIIID) works in different ways as a legal sounding board for the cultural sector. Their library plays an important role in this. Magazines, books and reference works are not only authoritative sources of advice, but also inspire visions and form (policy) proposals. That is why it is crucial to continually scrutinize this collection.

For Kunsthal Gent they selected about twenty works that specifically emphasize legal, socio-economic and/or artistic issues that manifest themselves within or around, thanks to or despite an artistic practice. They are looking for readers to leave ideas, critiques, interpretations or references in this collection. The comments left behind are collected and form an appropriation of the original book.

In this way, the library more and more actively links static literature to the current legal and socio-economic context. The lending form inquires about the identity and activities of the reader and grants provenance to the newly compiled book.
The library is open every Saturday between 11:00 and 18:00. You can drop by to borrow a book, or contact them at ask@twiiid.be.


Saturday 17.10, 14:00-17:00
What's in a Library? Directed by Allen Smithee

"We appreciate Smithee figuratively as a way to perform the conflicts and issues surrounding creative control and collective authorship. (Craig Saper in "Artificial Auteurism", Directed by Allen Smithee, p. 52)

The Directors Guild of America demands that every film has a director. Members who prefer not to see their name associated with a work must prove, through a meticulous process and detailed questionnaire, that they have lost creative control over that film. Only with the approval of the guild can the pseudonym 'Allen Smithee' replace the director's name. 'Directed by Allen Smithee' collects a number of essays on the value of the director's name, the politics of the authors of Truffaut, 'signaturism' and other themes.

Twee-eiige Drieling (TWIIID) takes this extreme fact from American audiovisual production in order to contextualize the role of the director in the production process in a Belgian/European context. We invite a producer (Peter Deuss) and scriptwriter (Bram Renders) to read 'Directed by Allen Smithee' and reflect on the hierarchy of authors in an audiovisual production. Together we discuss the differences and similarities with our continental moral and audiovisual copyright, the jurisprudence, the social and economic dynamics of the production process and the value of the director's name in the marketing of the (commercial) film.

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