#64: Arrange a distribution of forces.|#99: Evolve according to changing needs.|#112: Spaces today don’t need to be curated, but occupied.|#26: More artists, less borders.|#81: Things come alive when there is friction.|#54: What about disabled artists?|#19: Have fun at the exhibition.|#39: Be the early stepping stone in an artist’s career|#55: Keep basic human needs on the forefront.|#36: We support production separately.|#90: The best systems have a failure or ‘a hole’ in them…|#119: Be a space of production.|#105: Kunsthal Gent is local in scale, but globally connected.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#132: Things will always look weird when you’re the first doing it.|#6: Demand that visitors are active.|#28: Make Contracts.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#51: How do we invite the true unknown?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#37: Operate with radical transparency.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#17: An exhibition is never finished.|#61: No all male install teams.|#15: Kunsthal Gent aims to be an extension of public space.|#94: No objections? Just do it.|#89: Build-in impurity within the organisation.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#92: We’re a learning organisation.|#82: Clean and sterile looks professional, but really boring.|#62: Don’t be a dick. Full dishwasher: empty it.|#56: Take a lunch break.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#2: Bring something new to the city of Ghent.|#20: Are exhibitions the most suitable form for the art that we present?|#111: Do it together.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#10: Don’t be obsessed with numbers.|#4: Pay what you can.|#91: Embrace doubt.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#34: We pay artists.|#98: The success of it will not lie in the result but in the process.|#117: Consider design, organisational structures and architecture as programme.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#40: Follow the artist|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#124: Do less, do it better.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#53: Immaterial support for artists is important.|#65: No excuses: Thursday morning, team meeting.|#107: Build a community / scene.|#35: The artist fee should be good.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#74: Last one out turns of the lights.|#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.|#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|#32: Be pan-gender polyphonic.|#68: Once in a while we need to get out of utopia and get something done.|#84: The White Cube is a lie.|#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)|#16: Kunsthal Gent will always be a construction site.|#29: We make the program for the artist that we exhibit.|#30: Don’t work with artists who are assholes.|#127: Remain practical: what happens to the work in an endless exhibition?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#44: No name tags at dinner.|#137: Use the publication as programming space|#21: Live with the exhibition, spend time with it.|#14: Can you also remain a toddler institution?|#64: Arrange a distribution of forces.|#99: Evolve according to changing needs.|#112: Spaces today don’t need to be curated, but occupied.|#26: More artists, less borders.|#81: Things come alive when there is friction.|#54: What about disabled artists?|#19: Have fun at the exhibition.|#39: Be the early stepping stone in an artist’s career|#55: Keep basic human needs on the forefront.|#36: We support production separately.|#90: The best systems have a failure or ‘a hole’ in them…|#119: Be a space of production.|#105: Kunsthal Gent is local in scale, but globally connected.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#132: Things will always look weird when you’re the first doing it.|#6: Demand that visitors are active.|#28: Make Contracts.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#51: How do we invite the true unknown?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#37: Operate with radical transparency.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#17: An exhibition is never finished.|#61: No all male install teams.|#15: Kunsthal Gent aims to be an extension of public space.|#94: No objections? Just do it.|#89: Build-in impurity within the organisation.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#92: We’re a learning organisation.|#82: Clean and sterile looks professional, but really boring.|#62: Don’t be a dick. Full dishwasher: empty it.|#56: Take a lunch break.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#2: Bring something new to the city of Ghent.|#20: Are exhibitions the most suitable form for the art that we present?|#111: Do it together.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#10: Don’t be obsessed with numbers.|#4: Pay what you can.|#91: Embrace doubt.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#34: We pay artists.|#98: The success of it will not lie in the result but in the process.|#117: Consider design, organisational structures and architecture as programme.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#40: Follow the artist|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#124: Do less, do it better.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#53: Immaterial support for artists is important.|#65: No excuses: Thursday morning, team meeting.|#107: Build a community / scene.|#35: The artist fee should be good.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#74: Last one out turns of the lights.|#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.|#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|#32: Be pan-gender polyphonic.|#68: Once in a while we need to get out of utopia and get something done.|#84: The White Cube is a lie.|#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)|#16: Kunsthal Gent will always be a construction site.|#29: We make the program for the artist that we exhibit.|#30: Don’t work with artists who are assholes.|#127: Remain practical: what happens to the work in an endless exhibition?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#44: No name tags at dinner.|#137: Use the publication as programming space|#21: Live with the exhibition, spend time with it.|#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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