#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#19: Have fun at the exhibition.|#10: Don’t be obsessed with numbers.|#6: Demand that visitors are active.|#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.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#21: Live with the exhibition, spend time with it.|#26: More artists, less borders.|#82: Clean and sterile looks professional, but really boring.|#35: The artist fee should be good.|#55: Keep basic human needs on the forefront.|#32: Be pan-gender polyphonic.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#34: We pay artists.|#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.|#127: Remain practical: what happens to the work in an endless exhibition?|#14: Can you also remain a toddler institution?|#92: We’re a learning organisation.|#132: Things will always look weird when you’re the first doing it.|#62: Be kind. Full dishwasher: empty it.|#81: Things come alive when there is friction.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#19: Have fun at the exhibition.|#10: Don’t be obsessed with numbers.|#6: Demand that visitors are active.|#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.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#21: Live with the exhibition, spend time with it.|#26: More artists, less borders.|#82: Clean and sterile looks professional, but really boring.|#35: The artist fee should be good.|#55: Keep basic human needs on the forefront.|#32: Be pan-gender polyphonic.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#34: We pay artists.|#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.|#127: Remain practical: what happens to the work in an endless exhibition?|#14: Can you also remain a toddler institution?|#92: We’re a learning organisation.|#132: Things will always look weird when you’re the first doing it.|#62: Be kind. Full dishwasher: empty it.|#81: Things come alive when there is friction.|
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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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