#15: Kunsthal Gent aims to be an extension of public space.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#64: Arrange a distribution of forces.|#35: The artist fee should be good.|#94: No objections? Just do it.|#117: Consider design, organisational structures and architecture as programme.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#119: Be a space of production.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#90: The best systems have a failure or ‘a hole’ in them…|#53: Immaterial support for artists is important.|#74: Last one out turns of the lights.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#32: Be pan-gender polyphonic.|#56: Take a lunch break.|#17: An exhibition is never finished.|#37: Operate with radical transparency.|#132: Things will always look weird when you’re the first doing it.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#107: Build a community / scene.|#30: Don’t work with artists who are assholes.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#14: Can you also remain a toddler institution?|#54: What about disabled artists?|#124: Do less, do it better.|#15: Kunsthal Gent aims to be an extension of public space.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#64: Arrange a distribution of forces.|#35: The artist fee should be good.|#94: No objections? Just do it.|#117: Consider design, organisational structures and architecture as programme.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#119: Be a space of production.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#90: The best systems have a failure or ‘a hole’ in them…|#53: Immaterial support for artists is important.|#74: Last one out turns of the lights.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#32: Be pan-gender polyphonic.|#56: Take a lunch break.|#17: An exhibition is never finished.|#37: Operate with radical transparency.|#132: Things will always look weird when you’re the first doing it.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#107: Build a community / scene.|#30: Don’t work with artists who are assholes.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#14: Can you also remain a toddler institution?|#54: What about disabled artists?|#124: Do less, do it better.|
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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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