#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#6: Demand that visitors are active.|#84: The White Cube is a lie.|#59: Always protect the floor when painting (or pouring concrete)|#64: Arrange a distribution of forces.|#127: Remain practical: what happens to the work in an endless exhibition?|#29: We make the program for the artist that we exhibit.|#92: We’re a learning organisation.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#55: Keep basic human needs on the forefront.|#20: Are exhibitions the most suitable form for the art that we present?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#51: How do we invite the true unknown?|#91: Embrace doubt.|#82: Clean and sterile looks professional, but really boring.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#99: Evolve according to changing needs.|#30: Don’t work with artists who are assholes.|#37: Operate with radical transparency.|#94: No objections? Just do it.|#74: Last one out turns of the lights.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#14: Can you also remain a toddler institution?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#6: Demand that visitors are active.|#84: The White Cube is a lie.|#59: Always protect the floor when painting (or pouring concrete)|#64: Arrange a distribution of forces.|#127: Remain practical: what happens to the work in an endless exhibition?|#29: We make the program for the artist that we exhibit.|#92: We’re a learning organisation.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#55: Keep basic human needs on the forefront.|#20: Are exhibitions the most suitable form for the art that we present?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#51: How do we invite the true unknown?|#91: Embrace doubt.|#82: Clean and sterile looks professional, but really boring.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#99: Evolve according to changing needs.|#30: Don’t work with artists who are assholes.|#37: Operate with radical transparency.|#94: No objections? Just do it.|#74: Last one out turns of the lights.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#14: Can you also remain a toddler institution?|
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Émilie Brout & Maxime Marion

Werkperiode in Kunsthal Gent: 01.03.2021 - 21.03.2021

De praktijk van Émilie Brout & Maxime Marion (1984 en 1982, wonen en werken in Parijs) richt zich op de cultuur en het gebruik van het web: ze werken vaak met en rond het internet. Hun werk krijgt vorm in verschillende media, maar ze onderzoeken in het bijzonder het medium video, waarvan ze de grenzen opzoeken via niet-lineaire verhaallijnen, video’s zonder einde, en de context waarin het werk getoond wordt. Door zorgvuldige ontcijfering proberen ze de economische, politieke en juridische specificiteiten van bestaande systemen of structuren te identificeren alvorens ze te infiltreren, en sporen na te laten of erover te rapporteren in hun werk, soms met narratieve vormen. In Kunsthal Gent maken ze een geheel nieuwe film waarin ze onderzoeken hoe het technokapitalisme kan infiltreren in elk klein aspect van ons leven, en hoe het onze perceptie van de wereld en van onszelf verandert. Parallel hieraan ontwikkelen ze discrete installaties die de tentoonstellingsruimte in vraag stellen.

Émilie Brout & Maxime Marion
- Na hun studie bij ENSA Nancy en ESA in Aix-en-Provence waren ze twee jaar lang verbonden aan het EnsadLab onderzoekslaboratorium van de Ecole Nationale Supérieure des Arts Décoratifs in Parijs, waar hun samenwerking begon. Hun werk werd onderscheiden door de François Schneider Foundation Prize (2011), de Arte Laguna Digital Art Prize (2014) en de Sciences Po Public Prize for Contemporary Art (2019), en maakt deel uit van de collecties van het FRAC Aquitaine en Poitou-Charentes. Recente solotentoonstellingen: galerie 22,48 m2 , Parijs (2019), Villa du Parc, Annemasse (2018), Pori Art Museum, Pori, Finland (2018) en Steve Turner Gallery, Los Angeles, Verenigde Staten (2017).

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