Commit 2c6f6451 authored by gijs's avatar gijs

Name correction

parent e9523ebe
......@@ -89,7 +89,7 @@
today's art world? Re-examing APG’s initial gesture, through looking at the present, is timely now.</p>
<p>Artist Placement offers a series of presentations and discussions that take inspiration from the
Artist Placement Group (APG). With <a href="" class="artist"><span>Gareth Bell-Jones</span></a>, <a
href="" class="artist"><span>David Hilmer Rex</span></a>, <a href="" class="artist"><span>Anthony
href="" class="artist"><span>David Hilmer Rex</span></a>, <a href="" class="artist"><span>Antony
Hudek</span></a>, <a href="" class="artist"><span>Victoria Ivanova</span></a>, <a href="" class="artist"><span>Josephine
Kaeppelin</span></a>, <a href="" class="artist"><span>Olive Martin</span></a> &amp; <a href=""
class="artist"><span>Patrick Bernier</span></a>, <a href="" class="artist"><span>Vijai Patchineelam</span></a>,
......@@ -116,7 +116,7 @@
</div>
<div class="event">
<p><span class="event-infos">13:00</span>&nbsp;<a class="artist" href=""><span>Anthony Hudek</span></a> is currently completing a book on Artist Placement Group, with Alex Sainsbury, and will introduce the history of APG. In 2012, together with Sainsbury and in consultation with Barbara Steveni, he curated the exhibition <em>The Individual and the Organisation: Artist Placement Group 1966-79</em>, at Raven Row, London. It was the first retrospective of the pioneering artists’ organisation conceived by Steveni in 1965 and established a year later by her and John Latham along with Barry Flanagan, David Hall, Anna Ridley and Jeffrey Shaw, among others.</p>
<p><span class="event-infos">13:00</span>&nbsp;<a class="artist" href=""><span>Antony Hudek</span></a> is currently completing a book on Artist Placement Group, with Alex Sainsbury, and will introduce the history of APG. In 2012, together with Sainsbury and in consultation with Barbara Steveni, he curated the exhibition <em>The Individual and the Organisation: Artist Placement Group 1966-79</em>, at Raven Row, London. It was the first retrospective of the pioneering artists’ organisation conceived by Steveni in 1965 and established a year later by her and John Latham along with Barry Flanagan, David Hall, Anna Ridley and Jeffrey Shaw, among others.</p>
</div>
<div class="event">
<p><span class="event-infos">13:30</span>&nbsp;<a href="" class="artist"><span>David Hilmer Rex</span></a> will describe the practices of the Copenhagen-based artistic research platform <a href="https://diakron.dk/">Diakron</a> their key project <em>Primer</em> – which is currently located within <em>Aquaporin</em> – a water purification company headquartered in suburban Copenhagen. Primer is an experiment in artistic organization that conducts a number of transdisciplinary research activities, collaborations, events, and thematic exhibitions alongside the developing technology firm. <a href="" class="artist"><span>Scott William Raby</span></a> conducted the interview and will introduce it to the audience.<br />
......@@ -143,7 +143,7 @@ Moderated Q&A</p>
<p><span class="event-infos">19:00</span>&nbsp;<a href="" class="artist"><span>Gareth Bell-Jones</span></a>, director of Flat Time House (London) will speak about <a href="http://flattimeho.org.uk/projects/incidental-unit">The Incidental Unit</a>.Formed after a series of 'incidental meetings' the Incidental Unit was initiated by Barbara Steveni, Neal White, Tina O'Connell, Gareth Bell-Jones and Marsha Bradfield in 2016-17. Sharing information about the Artist Placement Group (1966-89), as well as O+I (1989-2009), the meetings have one open agenda item; 'unfinished business'. The meeting structure evolved in intention and purpose to become the Incidental Unit, with the aim of reconnecting the rigorous approach of APG with wider concerns around the brief given to socially engaged art today. <a href="" class="artist"><span>Barbara Steveni</span></a>, co-founder of APG, will feature in a short film that will be screened.</p>
</div>
<div class="event">
<p>Q&A moderated by Anthony Hudek.</p>
<p>Q&A moderated by Antony Hudek.</p>
</div>
<div class="event">
<p><span class="event-infos">20:30</span>&nbsp;drinks</p>
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......@@ -62,7 +62,7 @@
<p>APG provided an important historical counter model anticipating many of the issues facing cultural workers today, in terms of seeking different forms of patronage, repurposing and reutilising different spaces, and thinking of ways to reorganize the art world.</p>
<p>Between 1966 and the turn of the eighties, APG negotiated approximately fifteen placements for artists lasting from a few weeks to several years. First within industries (often large corporations such as British Steel) and later within UK government departments such as the Department of the Environment and the Scottish Office, APG arranged that artists could work to an ‘open brief’. Their placements were not required to produce tangible results, but the engagement itself could potentially benefit both host organisations as well as the artists in the long-term.</p>
<p>Today, there is a trend of artists reclaiming, or finding recuperative possibilities in practicing within, corporations and companies. Do these practices hold the promise of a transformative model for today's art world? Re-examing APG’s initial gesture, through looking at the present, is timely now.</p>
<p>Artist Placement offers a series of presentations and discussions that take inspiration from the Artist Placement Group (APG). With <a href="" class="artist"><span>Gareth Bell-Jones</span></a>, <a href="" class="artist"><span>David Hilmer Rex</span></a>, <a href="" class="artist"><span>Anthony Hudek</span></a>, <a href="" class="artist"><span>Victoria Ivanova</span></a>, <a href="" class="artist"><span>Josephine Kaeppelin</span></a>, <a href="" class="artist"><span>Olive Martin</span></a> & <a href="" class="artist"><span>Patrick Bernier</span></a>, <a href="" class="artist"><span>Vijai Patchineelam</span></a>, <a href="" class="artist"><span>Scott William Raby</span></a>, <a href="" class="artist"><span>Barbara Steveni</span></a>, <a href="" class="artist"><span>Arno van Roosmalen</span></a> and Caveat ‘dramaturgs’ <a href="" class="artist"><span>Steyn Bergs</span></a> and <a href="" class="artist"><span>Greg Nijs</span></a>, the programme will address the past and present relevance of APG. Through the presentation of current projects and initiatives that were inspired by APG, such as Diakron, Social Sensibility, Incidental Unit, the programme equally aims to open up perspectives for future activities of Caveat.</p>
<p>Artist Placement offers a series of presentations and discussions that take inspiration from the Artist Placement Group (APG). With <a href="" class="artist"><span>Gareth Bell-Jones</span></a>, <a href="" class="artist"><span>David Hilmer Rex</span></a>, <a href="" class="artist"><span>Antony Hudek</span></a>, <a href="" class="artist"><span>Victoria Ivanova</span></a>, <a href="" class="artist"><span>Josephine Kaeppelin</span></a>, <a href="" class="artist"><span>Olive Martin</span></a> & <a href="" class="artist"><span>Patrick Bernier</span></a>, <a href="" class="artist"><span>Vijai Patchineelam</span></a>, <a href="" class="artist"><span>Scott William Raby</span></a>, <a href="" class="artist"><span>Barbara Steveni</span></a>, <a href="" class="artist"><span>Arno van Roosmalen</span></a> and Caveat ‘dramaturgs’ <a href="" class="artist"><span>Steyn Bergs</span></a> and <a href="" class="artist"><span>Greg Nijs</span></a>, the programme will address the past and present relevance of APG. Through the presentation of current projects and initiatives that were inspired by APG, such as Diakron, Social Sensibility, Incidental Unit, the programme equally aims to open up perspectives for future activities of Caveat.</p>
<p>Free entrance. Registration required: <a href="mailto:info@caveat.be">info@caveat.be</a>. Please indicate which part of the programme you like to attend.</p>
<div class="button"><a href="caveat-apg-event-detail.html" > → See programme</a></div>
......@@ -298,7 +298,7 @@ During Bâtard Festival, Sofia Caesar developed a performative sculpture called
<p class="event-date"><time datetime="2018-6-22">22</time>, <time datetime="2018-6-23">23</time> Jun 2017</p>
<p class="event-title"><STRONG>Caveat</STRONG> at LODGERS: <strong>Caveat</strong> and Philippe Thomas</p>
<p class="event-exerpt">
A series of presentations and debates revolving around the work of <a class="artist"><span>Philippe Thomas</span></a> with <a class="artist"><span>Agency</span></a>, <a class="artist"><span>Patrick Bernier & Olive Martin</span></a>, <a class="artist"><span>Anthony Hudek</span></a>, <a class="artist"><span>Judith Ickowicz</span></a>, <a class="artist"><span>Sven Lütticken</span></a>, <a class="artist"><span>Daniel McClean</span></a>, and <a class="artist"><span>Julia Wielgus</span></a>.</p>
A series of presentations and debates revolving around the work of <a class="artist"><span>Philippe Thomas</span></a> with <a class="artist"><span>Agency</span></a>, <a class="artist"><span>Patrick Bernier & Olive Martin</span></a>, <a class="artist"><span>Antony Hudek</span></a>, <a class="artist"><span>Judith Ickowicz</span></a>, <a class="artist"><span>Sven Lütticken</span></a>, <a class="artist"><span>Daniel McClean</span></a>, and <a class="artist"><span>Julia Wielgus</span></a>.</p>
<span class="event-detail">
<img class="event-detail" src="img/IMG_7625.jpg"/>
......@@ -366,7 +366,7 @@ During Bâtard Festival, Sofia Caesar developed a performative sculpture called
<p class="event-infos">15.00─18.00</p>
<p>After having looked into multiple authorship and collaboration, it is still worthwhile to look into the nature of the working relation between artists and curators in more detail, as these relations can take the guise of a life-long, close partnership, a one-off commission, or anything in between. But what contractual obligations does the artist have in these different modalities of working together vis-à-vis the curator, and vice versa? How can both artists and curators think about best defending their interests (artistic, financial, and otherwise) contractually? What are the different negotiating positions in the process of thinking about this, who has leverage where and who has more power over what?</p>
<p> With <a class="artist"><span>Anthony Hudek</span></a> (KASK, Ghent), <a class="artist"><span>Johan Pas</span></a> (Royal Academy of Fine Arts, Antwerp), <a class="artist"><span>Josine de Roover</span></a> (NICC, Brussels), <a class="artist"><span>Julie Van Elslande</span></a> (legal advisor)
<p> With <a class="artist"><span>Antony Hudek</span></a> (KASK, Ghent), <a class="artist"><span>Johan Pas</span></a> (Royal Academy of Fine Arts, Antwerp), <a class="artist"><span>Josine de Roover</span></a> (NICC, Brussels), <a class="artist"><span>Julie Van Elslande</span></a> (legal advisor)
</p>
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