Commit 4a8d6d3e authored by gijs's avatar gijs
Browse files

Corrections from online version

parent 8c815ac1
......@@ -13,123 +13,7 @@
position: relative;
}
</style><html>
<head>
<meta charset="utf-8">
<link rel="stylesheet" type="text/css" media="all" href="styles.css" />
<link rel="stylesheet" type="text/css" media="all" href="styles-about.css" />
<link rel="stylesheet" type="text/css" media="all" href="styles-conact.css" />
<meta name="viewport" content="width=device-width, initial-scale=1">
<style>
body {
margin: 10px;
overflow-x: hidden;
position: relative;
}
</style>
</head>
<body>
<div id="container">
<main>
<aside class="left">
<div class="about">
<p><strong>Caveat</strong> is a collective research project reflecting and acting on the ecology of artistic practice. Convened in 2017 by the Brussels-based artists’ initiative Jubilee, the project title alludes to the legal principle caveat emptor (buyer beware) – signalling the research's ambition to raise awareness and co-create alternatives.</p>
<p>As such <strong>Caveat</strong> is a wake-up call to artists and art workers, as well as art institutions and producers to collectively re-think and respond to the nature of their work relationships. Not only to their socio-economical and legal context, but also to their cultural positions in a broad sense. And a much-needed wake-up call it is, since the art world for a long time has been operating on the frontline of neoliberal flexibilization and deregulation of labour – while its functioning can only be improved for all by involving all the parties involved.</p>
<p><strong>Caveat</strong> is artistic research with a focus on contracts as a tool for formalizing relations. The project attributes a central role to a large number of artists who are invited to do in-depth research through their art practices into the socio-economic and legal conditions of these practices. A research team comprising an artist, a curator and a legal specialist, organise and curate the project. They work in partnership with organisations who engage with the project’s themes and aims from their own position. The team works closely together with the artists to narrate and extrapolate the commissioned works.</p>
<p><strong>Caveat</strong> reading rooms offer open, discursive moments which invite a wider public to formulate a mutual understanding of the conditions on the field and how they reconnect with broader societal questions. Ideas and thoughts on this are collected and flow back into the research. Online co-writing pads, allow the public to continue to elaborate on the discussions.</p>
<p>Jubilee has used its own networked artistic operational structure to model <strong>Caveat</strong>, organising collaboration, consultation and exchange between artists and centres for contemporary art, museums, producers, collectors, galleries, academies, residencies and other actors. This broad network offers the research a view on the (specifically Belgian) art world in such a way that it can be understood as an ecology – approaching different perspectives as equally important. In collaboration with a number of research partners Jubilee developed <strong>Caveat</strong> as an interface that inserts itself within the fields of friction between these different actors which allows moving discussions and negotiations from a private, secretive environment – where considerable differences in economic power positions exist unchallenged – to the agonistic inclusivity which <strong>Caveat</strong> strives for, as a project situated in the public domain.</p>
<p>Indeed, there is sincere interest for <strong>Caveat</strong>'s mobilizing approach. A wide variety of professionals in the cultural and legal fields are partners, offering in-depth expertise to the project. A number of art institutions are engaged in the research trajectory, or act as co-producers or hosting institutions for the project’s artist commissions. Last but not least, <strong>Caveat</strong> aims to develop an ambitious educational outreach towards art academies and universities.</p>
<p>Next to a documentary and a publication, <strong>Caveat</strong> envisages an open source toolbox as significant concrete outcome of the research. While its form will be defined throughout the collective research, it is intended to offer advanced and reframed equivalents of what is commonly understood as a contract – instruments that can be customized by the user in the face of the particularities of each practice, project and relationship.</p>
<p><strong>Caveat</strong> tries to find more sustainable, balanced ways of operating within the existing legal frameworks. When the limits of the existing system are reached, it tries to come up with possible new narratives that open up space for reflection.</p>
</div>
</aside>
<aside class="right">
<nav id="menu">
<p class="logo"><a href="caveat-agenda.html"><img class="logo" src="img/logos/logo-caveat-90.png"/></a></p>
<ul>
<li><a href="caveat-about.html">About</a></li>
<li><a href="caveat-contact.html">Contact</a></li>
<!-- <li><a href="">Activities</a></li>
<li><a href="">Documents</a></li> -->
</ul>
</nav>
<div class="prolog">
<blockquote>“…giving the situation the power to make us think…”
<footer>– Isabelle Stengers, 'Introductory notes on an ecology of practices'</footer></blockquote>
</div>
<div class="about">
<dl>
<dt>Team</dt>
<dd>Florence Cheval</dd>
<dd>Ronny Heiremans</dd>
<dd>Julie Van Elslande</dd>
<dt>Artists involved so far</dt>
<dd>Agency, Eva Barto, Patrick Bernier & Olive Martin, Joséphine Kaeppelin, Ben Kinmont, Franck Leibovici, Scott Raby, Erik Schrijver, Stijn Van Dorpe, Vermeir & Heiremans, ...</dd>
<dt>Co-producers so far</dt>
<dd>Bâtard Festival, Beursschouwburg, Eté 78, Harlan Levey Projects, MHKA, Netwerk, Penthouse Art Residency, ...</dd>
</dl>
<p>In a preparatory residence at LODGERS (AIR Antwerp and MHKA) during the summer of 2017, Jubilee explored the interests and expertise of artists, legal specialists, scholars, curators, collectors and organizations of reflecting on the status, limitations and emancipatory potential of contracts in the art world.</p>
</div>
</aside>
</main>
<aside class="partners">
<p class=""><strong>Caveat</strong> is a co-create research project convened by the Brussels-based artists’ initiative Jubilee, in partnership with Open Source Publishing, No New Enemies and Été 78 and supported by Innoviris, Brussels Institute for Research and Innovation. <br/><img class="logo-partners" style="" src="img/logos/inoviris.svg"/></p>
</aside>
</div>
</body>
<script>
var entries = document.querySelectorAll('.event');
function activate (entry, entries) {
for (var e = 0; e < entries.length; e++) {
entries[e].classList.remove('active');
}
entry.classList.add('active');
var clone = entry.cloneNode(true);
var container = document.querySelector('#detail-container');
container.classList.add('active');
while (container.hasChildNodes()) {
container.removeChild(container.lastChild);
}
container.appendChild(clone);
var question = document.querySelectorAll('#prolog');
question.classList.add('blink');
}
var closest = entries[0];
for (var i=0; i < entries.length; i++) {
(function (entry, entries) {
entry.addEventListener('click', function () {
activate(entry, entries);
});
})(entries[i], entries);
}
activate(closest, entries);
</script>
</style>
</head>
<body>
......@@ -140,21 +24,21 @@
<aside class="left">
<div class="about">
<p><strong>caveat</strong> is a collective research project reflecting and acting on the ecology of artistic practice. Convened in 2017 by the Brussels-based artists’ initiative Jubilee, the project title alludes to the legal principle caveat emptor (buyer beware) – signalling the research's ambition to raise awareness and co-create alternatives.</p>
<p><strong>Caveat</strong> is a collective research project reflecting and acting on the ecology of artistic practice. Convened in 2017 by the Brussels-based artists’ initiative Jubilee, the project title alludes to the legal principle caveat emptor (buyer beware) – signalling the research's ambition to raise awareness and co-create alternatives.</p>
<p>As such <strong>caveat</strong> is a wake-up call to artists and art workers, as well as art institutions and producers to collectively re-think and respond to the nature of their work relationships. Not only to their socio-economical and legal context, but also to their cultural positions in a broad sense. And a much-needed wake-up call it is, since the art world for a long time has been operating on the frontline of neoliberal flexibilization and deregulation of labour – while its functioning can only be improved for all by involving all the parties involved.</p>
<p>As such <strong>Caveat</strong> is a wake-up call to artists and art workers, as well as art institutions and producers to collectively re-think and respond to the nature of their work relationships. Not only to their socio-economical and legal context, but also to their cultural positions in a broad sense. And a much-needed wake-up call it is, since the art world for a long time has been operating on the frontline of neoliberal flexibilization and deregulation of labour – while its functioning can only be improved for all by involving all the parties involved.</p>
<p><strong>caveat</strong> is artistic research with a focus on contracts as a tool for formalizing relations. The project attributes a central role to a large number of artists who are invited to do in-depth research through their art practices into the socio-economic and legal conditions of these practices. A research team comprising an artist, a curator and a legal specialist, organise and curate the project. They work in partnership with organisations who engage with the project’s themes and aims from their own position. The team works closely together with the artists to narrate and extrapolate the commissioned works.</p>
<p><strong>Caveat</strong> is artistic research with a focus on contracts as a tool for formalizing relations. The project attributes a central role to a large number of artists who are invited to do in-depth research through their art practices into the socio-economic and legal conditions of these practices. A research team comprising an artist, a curator and a legal specialist, organise and curate the project. They work in partnership with organisations who engage with the project’s themes and aims from their own position. The team works closely together with the artists to narrate and extrapolate the commissioned works.</p>
<p><strong>caveat</strong> reading rooms offer open, discursive moments which invite a wider public to formulate a mutual understanding of the conditions on the field and how they reconnect with broader societal questions. Ideas and thoughts on this are collected and flow back into the research. Online co-writing pads, allow the public to continue to elaborate on the discussions.</p>
<p><strong>Caveat</strong> reading rooms offer open, discursive moments which invite a wider public to formulate a mutual understanding of the conditions on the field and how they reconnect with broader societal questions. Ideas and thoughts on this are collected and flow back into the research. Online co-writing pads, allow the public to continue to elaborate on the discussions.</p>
<p>Jubilee has used its own networked artistic operational structure to model <strong>caveat</strong>, organising collaboration, consultation and exchange between artists and centres for contemporary art, museums, producers, collectors, galleries, academies, residencies and other actors. This broad network offers the research a view on the (specifically Belgian) art world in such a way that it can be understood as an ecology – approaching different perspectives as equally important. In collaboration with a number of research partners Jubilee developed <strong>caveat</strong> as an interface that inserts itself within the fields of friction between these different actors which allows moving discussions and negotiations from a private, secretive environment – where considerable differences in economic power positions exist unchallenged – to the agonistic inclusivity which <strong>caveat</strong> strives for, as a project situated in the public domain.</p>
<p>Jubilee has used its own networked artistic operational structure to model <strong>Caveat</strong>, organising collaboration, consultation and exchange between artists and centres for contemporary art, museums, producers, collectors, galleries, academies, residencies and other actors. This broad network offers the research a view on the (specifically Belgian) art world in such a way that it can be understood as an ecology – approaching different perspectives as equally important. In collaboration with a number of research partners Jubilee developed <strong>Caveat</strong> as an interface that inserts itself within the fields of friction between these different actors which allows moving discussions and negotiations from a private, secretive environment – where considerable differences in economic power positions exist unchallenged – to the agonistic inclusivity which <strong>Caveat</strong> strives for, as a project situated in the public domain.</p>
<p>Indeed, there is sincere interest for <strong>caveat</strong>'s mobilizing approach. A wide variety of professionals in the cultural and legal fields are partners, offering in-depth expertise to the project. A number of art institutions are engaged in the research trajectory, or act as co-producers or hosting institutions for the project’s artist commissions. Last but not least, <strong>caveat</strong> aims to develop an ambitious educational outreach towards art academies and universities.</p>
<p>Indeed, there is sincere interest for <strong>Caveat</strong>'s mobilizing approach. A wide variety of professionals in the cultural and legal fields are partners, offering in-depth expertise to the project. A number of art institutions are engaged in the research trajectory, or act as co-producers or hosting institutions for the project’s artist commissions. Last but not least, <strong>Caveat</strong> aims to develop an ambitious educational outreach towards art academies and universities.</p>
<p>Next to a documentary and a publication, <strong>caveat</strong> envisages an open source toolbox as significant concrete outcome of the research. While its form will be defined throughout the collective research, it is intended to offer advanced and reframed equivalents of what is commonly understood as a contract – instruments that can be customized by the user in the face of the particularities of each practice, project and relationship.</p>
<p>Next to a documentary and a publication, <strong>Caveat</strong> envisages an open source toolbox as significant concrete outcome of the research. While its form will be defined throughout the collective research, it is intended to offer advanced and reframed equivalents of what is commonly understood as a contract – instruments that can be customized by the user in the face of the particularities of each practice, project and relationship.</p>
<p><strong>caveat</strong> tries to find more sustainable, balanced ways of operating within the existing legal frameworks. When the limits of the existing system are reached, it tries to come up with possible new narratives that open up space for reflection.</p>
<p><strong>Caveat</strong> tries to find more sustainable, balanced ways of operating within the existing legal frameworks. When the limits of the existing system are reached, it tries to come up with possible new narratives that open up space for reflection.</p>
</div>
</aside>
<aside class="right">
......@@ -170,8 +54,8 @@
</ul>
</nav>
<div class="prolog">
<blockquote>Giving the situation the power to make us think.
<footer>– Isabelle Stengers, Introductory notes on an ecology of practices</footer></blockquote>
<blockquote>…giving the situation the power to make us think
<footer>– Isabelle Stengers, 'Introductory notes on an ecology of practices'</footer></blockquote>
</div>
<div class="about">
<dl>
......@@ -191,7 +75,7 @@
</aside>
</main>
<aside class="partners">
<p class=""><strong>caveat</strong> is a two-year co-create research project convened by the Brussels-based artists’ initiative Jubilee, in partnership with Open Source Publishing, No New Enemies and Été 78 and supported by Brussels Institute for Research and Innovation. <br/><img class="logo-partners" style="" src="img/logos/inoviris.svg"/></p>
<p class=""><img class="logo-partners" style="" src="img/logos/inoviris.svg"/><strong>Caveat</strong> is a co-create research project convened by the Brussels-based artists’ initiative Jubilee, in partnership with Open Source Publishing, No New Enemies and Été 78 and supported by Innoviris, Brussels Institute for Research and Innovation.</p>
</aside>
</div>
</body>
......
......@@ -72,7 +72,7 @@
</div>
<div id="conf-law-labor" class="event presentation">
<img class="event-image" src="img/IMG_9405-2_low.jpg"/>
<img class="event-image" src="http://jubilee-art.org/wp-content/uploads/2018/10/IMG_9405-2_low.jpg"/>
<p class="event-date"><time datetime="2018-10-12">12 Oct 2018</time></p>
<p class="event-title">Reading Room #4</p>
......@@ -81,7 +81,7 @@
<span class="event-detail">
<p class="event-infos">16.00 ─ 17.30</p>
<p class="event-infos">WTC 25<sup>th</sup> floor</p>
<img class="event-detail" src="img/IMG_9405-2_low.jpg"/>
<img class="event-detail" src="http://jubilee-art.org/wp-content/uploads/2018/10/IMG_9405-2_low.jpg"/>
<p>We will read and discuss collectively a text by Dieter Lesage, <em>'Permanent Performance'</em>(<em>Performance Research Journal</em>, Volume 17, 2012 - Issue 6: On Labour & Performance). PDF available upon request. Please send an email to <info@caveat class="be"></info@caveat></p>
</span>
</div>
......@@ -129,14 +129,14 @@
<div id="presentation-philippe-thomas" class="event presentation">
<img class="event-image" src="img/IMG_7625.jpg"/>
<img class="event-image" src="http://jubilee-art.org/wp-content/uploads/2017/04/IMG_7625.jpg"/>
<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 href="" class="artist"><span>Philippe Thomas</span></a> with <a href="" class="artist"><span>Agency</span></a>, <a href="" class="artist"><span>Patrick Bernier & Olive Martin</span></a>, <a href="" class="artist"><span>Antony Hudek</span></a>, <a href="" class="artist"><span>Judith Ickowicz</span></a>, <a href="" class="artist"><span>Sven Lütticken</span></a>, <a href="" class="artist"><span>Daniel McClean</span></a>, and <a href="" class="artist"><span>Julia Wielgus</span></a>.</p>
<span class="event-detail">
<img class="event-detail" src="img/IMG_7625.jpg"/>
<img class="event-detail" src="http://jubilee-art.org/wp-content/uploads/2017/04/IMG_7625.jpg"/>
<p class="event-detail-date">Thu 22</p>
<p class="event-infos">17.00─21.00</p>
......@@ -167,7 +167,7 @@
</div>
<div id="workshop-distributing" class="event workshop">
<img class="event-image" src="img/IMG_7704.jpg"/>
<img class="event-image" src="http://jubilee-art.org/wp-content/uploads/2017/04/IMG_7704.jpg"/>
<p class="event-date"><time datetime="2018-6-9">9 Jun 2017</time></p>
<p class="event-title"><STRONG>Caveat</STRONG> at LODGERS: Distributing art: the gallery contract</p>
......@@ -205,14 +205,14 @@
<div id="caveat-at-lodger" class="event">
<img class="event-image" src="img/IMG_7618-1.jpg"/>
<img class="event-image" src="http://jubilee-art.org/wp-content/uploads/2017/04/IMG_7618-1.jpg"/>
<p class="event-date"><time datetime="2018-5-19">19</time>, <time datetime="2018-5-20">20</time>, <time datetime="2018-5-21">21</time> May 2017</p>
<p class="event-title"><strong>Caveat</strong> at LODGERS, opening weekend</p>
<p class="event-exerpt">
<strong>caveat</strong> is hosted by LODGERS, a collaboration between AIR Antwerpen and M HKA. LODGERS functions as <strong>Caveat</strong>’s first platform for public programmes, workshops, a display of artworks, legal material, and film screenings: a framework for research and artistic production as well as a public stage to negotiate possible futures of the artist contract.</p>
<span class="event-detail">
<img class="event-detail" src="img/IMG_9381_low.jpg"/>
<img class="event-detail" src="http://jubilee-art.org/wp-content/uploads/2017/04/IMG_9381_low.jpg"/>
<p class="event-detail-date">Fri 19</p>
<p class="event-infos">15.00─18.00</p>
......@@ -278,23 +278,23 @@
</div>
<div class="event-detail-footer">
<p><a class="artist" id="Eva-Barto-bio"><span>Eva Barto</span></a> graduated from the School of Fine Arts (Paris, 2013) and attended the post-graduate program at Ensba (Lyon, 2014). Recent solo shows include La BF15 (Lyon, 2015), Primo Piano (Paris, 2015), gb agency (Paris, 2016), Villa Arson (Nice, 2016) and soon Kunstverein Freiburg (April 2019). Her work have been presented at Centre Pompidou (Paris, 2016), Biennale de Rennes (2016), Kadist (Paris, 2016), Van Gelder (Amsterdam, 2016), Marcelle Alix (Paris, 2015), Fondation d’Entreprise Ricard (Paris, 2017) Wattis Art Center (San Francisco, 2017) and Secession (Vienna, 2018). In 2016 she initiated the publishing project Buttonwood.Press.
<a href="www.evabarto.net" target="_blank">www.evabarto.net</a></p>
<a href="http://www.evabarto.net" target="_blank">www.evabarto.net</a></p>
</div>
<div class="event-detail-footer">
<p><a class="artist" id="Sofia-Caesar-bio"><span>Sofia Caesar</span></a> makes videos, performances, sculptures, and installations. The body in motion is central to her work. She often engages herself and the public in seeing how the structures that act on us, such as architecture, language, or the camera, can be played with. In her works, we often see bodies escaping the forces that control them, creating a language of their own. In Caesar’s works, structures that surround her become scripts to be performed. An interview becomes a partition for a collective reading. An archival film is transformed into a trajectory on the floor. A work contract, a sign post that can be pointed at multiple directions. A surveillance system, a track for running. The sunset, a time to sit still. This exercise of creating choreographic scores with the world around her, allows Caesar to amplify moments of liberation. From structures that would otherwise be overpowering, Sofia finds dance and noise.
She has participated in exhibitions such as 6th Moscow Biennial (RUS); Delirium & Destiny, A Tale of a Tub Rotterdam (NL); Transperformance 2, Oi Futuro (RJ, BR); EDP ​​Award, Instituto Tomie Othake (Sao Paulo, BR), among others. She won the Rumos Itaú Cultural 2018 prize and her work "Worker leaves the factory (conditions for the work)" is part of the permanent collection of Parco d'Arte Vivente, Torino (IT).
<a href="www.sofiacaesar.net" target="target">www.sofiacaesar.net</a></p>
<a href="http://www.sofiacaesar.net" target="target">www.sofiacaesar.net</a></p>
</div>
<div class="event-detail-footer">
<p><a class="artist" id="Laurie-Charles-bio"><span>Laurie Charles</span></a> (b. 1987, Belgium, works and lives in Brussels) graduated from the School of Fine Arts in Bordeaux, France. She makes videos in which she invites her friends to play: there she mixes folklores, humanities and histories (and narratives of history). She writes and paints speculative narratives – fictions and on canvases. Besides other venues, her work has been exhibited at CIAP Kunstverein (BE), 1646 (NL), Nanjing International Art Festival (CN), Beursschouwburg (BE), Komplot (BE), and Le Commissariat (FR).
<a href="www.lauriecharles.net" target="_blank">www.lauriecharles.net</a></p>
<a href="http://www.lauriecharles.net" target="_blank">www.lauriecharles.net</a></p>
</div>
<div class="event-detail-footer">
<p><aclass="artist" id="Loraine-Furter-bio"><span>Loraine Furter</span></a> (Lausanne – CH, 1988) works in the artistic and cultural field. Her practice is situated at the crossroads of art, design and editing/curating.
She lives in Brussels, Belgium since 2007.
Her graphic design education allowed her to experiment with different forms of critical design, as well as other surrounding practices, such as editing and curating. She is now specialised in editorial and publishing practices.
</br>
<a href="www.lorainefurter.net" target="_blank">www.lorainefurter.net</a></p>
<a href="http://www.lorainefurter.net" target="_blank">www.lorainefurter.net</a></p>
</div><div class="event-detail-footer">
<p><a class="artist" id="Ben-Kinmont-bio"><span>Ben Kinmont</span></a> (born 1963 in Burlington, Vermont) is an artist, publisher, and antiquarian bookseller living in Sebastopol, California. His work is concerned with the value structures surrounding an art practice and what happens when that practice is displaced into a non-art space.
<a>www.benkinmont.com</a></p>
......@@ -302,7 +302,7 @@
<div class="event-detail-footer">
<p><a class="artist" id="franck-leibovici-bio"><span>franck leibovici</span></a> (born 1975, lives and works in Paris) is a poet and artist. he's currently working with julien seroussi on the making of the international criminal court (the hague, the netherlands) through a series of exhibitions, publications and conferences, untitled "law intensity conflicts".
</br>
<a href="www.desformesdevie.org" target="_blank">www.desformesdevie.org</a>
<a href="http://www.desformesdevie.org" target="_blank">www.desformesdevie.org</a>
</p>
</div>
<div class="event-detail-footer">
......@@ -314,13 +314,13 @@
<p><a class="artist" id="Eric-Schrijver-bio"><span>Eric Schrijver</span></a> is a Dutch interaction designer, artist and author, born in Amsterdam in 1984. With performances and publishing projects in new and digital media, he uses the internet as a performative space. Eric directs a group blog called I like tight pants and mathematics, that aims to motivate designers and artists to get more involved in the world of computer programmers.
From 2011 to 2017 Eric was a core member of the graphic design collective Open Source Publishing. A former faculty member at KABK (NL) and ERG (BE), he has taught workshops around the world.
</br>
<a href="www.ericschrijver.nl" target="_blank">www.ericschrijver.nl</a></p>
<a href="http://www.ericschrijver.nl" target="_blank">www.ericschrijver.nl</a></p>
</div>
</div>
</aside>
</main>
<aside class="partners">
<p class=""><strong>Caveat</strong> is a co-create research project convened by the Brussels-based artists’ initiative Jubilee, in partnership with Open Source Publishing, No New Enemies and Été 78 and supported by Innoviris, Brussels Institute for Research and Innovation. <br/><img class="logo-partners" style="" src="img/logos/inoviris.svg"/></p>
<p class=""><img class="logo-partners" style="" src="img/logos/inoviris.svg"/><strong>Caveat</strong> is a co-create research project convened by the Brussels-based artists’ initiative Jubilee, in partnership with Open Source Publishing, No New Enemies and Été 78 and supported by Innoviris, Brussels Institute for Research and Innovation.</p>
</aside>
</div>
</body>
......
......@@ -11,359 +11,9 @@
}
</style>
<title>caveat</title>
</head>
<body>
<html>
<head>
<meta charset="utf-8">
<link rel="stylesheet" type="text/css" media="all" href="styles.css" />
<meta name="viewport" content="width=device-width, initial-scale=1">
<style>
body {
margin: 10px;
overflow-x: hidden;
position: relative;
}
</style>
</head>
<body>
<div id="container">
<main>
<aside class="left">
<nav id="menu">
<p class="logo"><a href="caveat-agenda.html"><img class="logo" src="img/logos/logo-caveat-90.png"/></span></a></p>
<ul>
<li><a href="caveat-about.html">About</span></a></li>
<li><a href="caveat-contact.html">Contact</span></a></li>
<!-- <li><a href="" class="artist"><span>Activities</span></a></li>
<li><a href="" class="artist"><span>Documents</span></a></li> -->
</ul>
</nav>
<div id="prolog">
<span><a href="caveat-agenda-detail.html">&nbsp;</a></span>
<!-- <p class= "question-quote">Giving the situation the power to make things</p> -->
</div>
<div class="about">
<p class="intro"><strong>Caveat</strong> tries to find more sustainable, balanced ways of operating within the existing legal frameworks. And when the limits of the existing system are reached, it tries to come up with possible new narratives that open up space for reflection.</p>
</div>
</aside>
<aside class="right">
<div class="agenda">
<div id="conf-law-labor" class="event presentation">
<div class="event-detail-header">
<p class="event-date"><time datetime="2018-10-30">30 Oct</time><time datetime="2018-11-3">3 Nov 2018</time></p>
<p class="event-title">Publishing & Performing Relationships. <strong>Caveat</strong> at Bâtard Festival</p>
<p class="event-exerpt">Each day during the festival, an artist will present a proposal as a sharing ground for thoughts, discussions, and reflections on authorship, value, economy, distribution, participation...</p>
<div class="button button-header"><a href="caveat-agenda-event-detail.html" > → See programme</a></div>
<span class="event-detail">
<p class="event-infos">Each day at 17:30, unless noted otherwise<br>Beursschouwburg, Brussels</p>
<blockquote>Why would artists contractualize relationships?</blockquote>
<blockquote>How do artists engage into working conditions?</blockquote>
<blockquote>How to survive as an artist?</blockquote>
<p>These questions will develop in a back and forth movement from publishing to performance and the other way around. Indeed, the artists invited by <strong>Caveat</strong> approach publishing as a means to make things public, as a medium for emancipation and coalition, as a tool for thinking, and as a (third) sculpture.</p>
<p>With: <a href="" class="artist"><span>Eva Barto</span></a>, <a href="" class="artist"><span>Sofia Caesar</span></a>, <a href="" class="artist"><span>Loraine Furter</span></a> & <a href="" class="artist"><span>Laurie Charles</span></a>, <a href="" class="artist"><span>Ben Kinmont</span></a>, <a href="" class="artist"><span>franck leibovici</span></a>, <a href="" class="artist"><span>Eric Schrijver</span></a> & <a href="" class="artist"><span>OSP</span></a></p>
<p>The practices of the invited artists testify both for an intense research in and a sharp awareness of the conditions and context in which their work come into life, are exhibited, circulated, and archived. Furthermore, they engage actively and critically in sharing, coming together, disseminating these issues not only amongst their peers but also towards a wider audience. Because, as Ben Kinmont put it once, “There is also a need outside of here.”</p>
<p><strong>Caveat</strong> is a collective research project reflecting and acting on the ecology of artistic practice. Convened in 2017 by the Brussels-based artists’ initiative Jubilee, the project title alludes to the legal principle caveat emptor (buyer beware), signaling the research's ambition to raise awareness and co-create alternatives.</p>
<div class="button"><a href="caveat-agenda-event-detail.html" > → See programme</a></div>
</span>
</div>
<!-- <h2>PROGRAMME</h2> -->
</div>
<div id="conf-law-labor" class="event presentation">
<div class="event-detail-header">
<p class="event-date"><time datetime="2018-10-12">12 Oct 2018</time></p>
<p class="event-title">Reading Room #4</p>
<p class="event-exerpt">Collective reading and discussion of <em>Permanent Performance</em>, a text by Dieter Lesage</em></p>
<span class="event-detail">
<p class="event-infos">16.00 ─ 17.30</p>
<p class="event-infos">WTC 25<sup>th</sup> floor</p>
<p>We will read and discuss collectively a text by Dieter Lesage, <em>'Permanent Performance'</em>(<em>Performance Research Journal</em>, Volume 17, 2012 - Issue 6: On Labour & Performance). PDF available upon request. Please send an email to <a href ="mailto:info@caveat.be" >info@caveat.be</a></info@caveat></p>
</span>
</div>
</div>
<div id="presentation-sota" class="event reading-room presentation">
<div class="event-detail-header">
<p class="event-date"><time datetime="2018-9-1">1 Sept 2018</time></p>
<p class="event-title"><strong>Caveat</strong> at SOTA</p>
<p class="event-exerpt">State Of The Arts (SOTA) invites <strong>Caveat</strong> to take part in its first annual camp on fair practice</p>
<span class="event-detail">
<p class="event-infos">14.00 ─ 17.00</p>
<p class="event-infos">Allée du Kaai, 1000, Brussels</p>
<p><strong>Caveat</strong> will be present with :</p>
<ul>
<li>Reading Room #3, a collective reading of a fragment of <a class="artist"><span>Anna Tsing</span></a>'s book, <em>The Mushroom at the End of the World</em></li>
<li>Presentation by <a class="artist"><span>Vermeir & Heiremans</span></a>, 'A Modest Proposal: activating public resources as a commons?'</li>
<li>Presentation by <a class="artist"><span>Louis Volont</span></a>, 'Creative Commons'</li>
<li>Discussion</li>
</ul>
</span>
</div>
</div>
<div id="conf-law-labor" class="event presentation">
<div class="event-detail-header">
<p class="event-date"><time datetime="2018-8-17">17 Aug 2018</time></p>
<p class="event-title">Reading Room #2</p>
<span class="event-detail">
<p class="event-infos">16.00 ─ 17.30</p>
<p class="event-infos">WTC 25<sup>th</sup> floor</p>
<p>We will read and discuss collectively a fragment from Stephen Wright&#39;s <em>Toward a Lexicon of Usership</em>, <a href="http://museumarteutil.net/wp-content/uploads/2013/12/Toward-a-lexicon-of-usership.pdf">&#39;Usership&#39;, pp 68-70</a></p>
</span>
</div>
</div>
<div id="conf-law-labor" class="event presentation">
<div class="event-detail-header">
<p class="event-date"><time datetime="2018-6-18">18 Jun 2018</time></p>
<p class="event-title">Reading Room #1</p>
<span class="event-detail">
<p class="event-infos">12.00─13:00</p>
<p class="event-infos">WTC 25<sup>th</sup> floor</p>
<p>We will read and discuss collectively a text by artist franck leibovici, <em>Forms of life</em>.</p>
</span>
</div>
</div>
<div id="conf-law-labor" class="event presentation">
<div class="event-detail-header">
<p class="event-date">9 November 2017</p>
<p class="event-title">Conference on Law and Labor</p>
<p class="event-exerpt">Metamorphosis of Labour: Social Identity, Mobilization, Integration, Representation</p>
<span class="event-detail">
<p class="event-infos">between 13.45 and 14.15h</p>
<p class="event-infos">European Economic and Social Committee (EESC)</p>
<p><a class="artist"><span>Steyn Bergs</span></a> & <a class="artist"><span>Ronny Heiremans</span></a> will present <strong>Caveat</strong>.</p>
<p>For the Metamorphosis of Labour symposium, the <strong>Caveat</strong> research team proposes to present an introductory outline of the project. This contribution will involve a slight deviation from the standard format of academic paper presentations, but will hopefully also offer an insight into how the symposium’s topic —&nbsp;questions revolving around labour and identity&nbsp;— are (and have been) researched and dealt with not only in other disciplinary academic fields, but also in the field of artistic practice. As such, <strong>Caveat</strong> hopes to instigate a truly interdisciplinary dialogue on these pertinent questions.</p>
</span>
</div>
</div>
<div id="presentation-philippe-thomas" class="event presentation">
<div class="event-detail-header">
<img class="event-image" src="img/IMG_7625.jpg"/>
<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>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"/>
<p class="event-detail-date">Thu 22</p>
<p class="event-infos">17.00─21.00</p>
<p class="event-detail-date">Fri 23</p>
<p class="event-infos">15.00─18.00</p>
<br/>
<p class="event-infos">M HKA, Antwerp, 6th floor</p>
<p class="event-infos">Free entrance</p>
<p>In a two-day event on 22 and 23 June, <strong>Caveat</strong> will focus on the work of French artist Philippe Thomas (1951-1995). In his work, a selection of which is on display thanks to the generous support of Jan Mot, authorship, and also co-authorship, was intensely questioned. In the case of <em>Ready-mades belong to everyone®</em> this was pursued to the point where it lead to “the ultimate erasure of [the artist’s] name”, inviting “collectors to take authorial responsibility for his works.” Furthermore, a large number of Philippe Thomas’ work displaces the legal notion of authorship as a juridical fiction in order to make it an artistic fiction, therefore underscoring the fictional dimension of both.</p>
<p><strong>Caveat</strong> will go further into questions Thomas’ work raises, while at the same time opening them up to the current situation on authorship and production conditions of the artist. During these two days, artists, theorists, curators and experts from the fields of art history, law and economy are invited to address questions on authorship, contract and law in a discursive event that has the ambition to share knowledge and negotiate future realities.</p>
<!-- </p>Archive in construction</p> -->
</span>
</div>
</div>
<div id="workshop-signature-right" class="event workshop">
<div class="event-detail-header">
<p class="event-date"><time datetime="2018-06-16">16 Jun 2017</time></p>
<p class="event-title"><STRONG>Caveat</STRONG> at LODGERS: The artist's signature and resales rights</p>
<span class="event-detail">
<p class="event-infos">15.00─18.00</p>
<p>There is one thing that many artworks and many artists’ contracts have in common: they both bear the signature of the artist, which in both cases consolidates authorship over the work, and which possibly bestows it with economic value. But if authorship over a work does not change throughout time, this economic value certainly does, leaving room for speculation and other practices that might be opposed to the interest of the artist who remains the author. Hence, we will in this workshop also discuss an issue that has been at the core of debates concerning contracts in art since Seth Siegelaub’s time, namely resales rights – the possible right of an author to receive a percentage of the profits made on her or his work after it has been sold.</p>
<p>With <a class="artist"><span>Anne-Sophie Radermecker</span></a> (ULB, Cultural Management, Brussels), <a class="artist"><span>Maria Elena Minuto</span></a> (European Neo Avant-Garde Research Unit (ENAG), KU Leuven).</p>
<!-- </p>Archive in construction</p> -->
</span>
</div>
</div>
<div id="workshop-distributing" class="event workshop">
<div class="event-detail-header">
<img class="event-image" src="img/IMG_7704.jpg"/>
<p class="event-date"><time datetime="2018-6-9">9 Jun 2017</time></p>
<p class="event-title"><STRONG>Caveat</STRONG> at LODGERS: Distributing art: the gallery contract</p>
<span class="event-detail">
<p class="event-infos">15.00─18.00</p>
<p>One of the most prevalent contracts in the art world is certainly the sales contract drafted by a certain artist’s (commercial or non-commercial) gallery. This is not to say, however, that many galleries do not operate in a more sub rosa manner, with a significant amount of negotiations happening and deals being made behind the screen, possibly without the full knowledge of the artist, too. Again, what are the hierarchies and possible power asymmetries here, and how can artists empower themselves in their working relation with gallerists? But also, what other forms of gallery contracts already exist, and which different types of contracts would benefit which different types of galleries?</p>
<p> With <a class="artist"><span>Vaast Colson</span></a> (Pinky Bowtie, artist run gallery, Antwerp), <a class="artist"><span>Eric Jooris</span></a> (legal advisor).</p>
<!-- </p>Archive in construction</p> -->
</span>
</div>
</div>
<div id="workshop-artist-curator" class="event workshop">
<div class="event-detail-header">
<p class="event-date"><time datetime="2018-6-2">2 Jun 2017</time></p>
<p class="event-title"><STRONG>Caveat</STRONG> at LODGERS: Artists and Curators: authorship & contracts</p>
<span class="event-detail">
<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>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>
<!-- </p>Archive in construction</p> -->
</span>
</div>
</div>
<div id="workshop-collaboration" class="event workshop">
<div class="event-detail-header">
<p class="event-date"><time datetime="2018-5-26">26 May 2017</time></p>
<p class="event-title"><STRONG>Caveat</STRONG> at LODGERS: Co-production, multiple authorship, collaboration</p>
<p class="event-exerpt">Many practices in contemporary art today are distinctly collaborative. Whether it concerns a work realized in close dialogue with a commissioning institution or...</p>
<span class="event-detail">
<p class="event-infos">15.00─18.00</p>
<p>Many practices in contemporary art today are distinctly collaborative. Whether it concerns a work realized in close dialogue with a commissioning institution or with, a community project where a larger group of people contribute significantly to the work, or an art piece in which the production is (partly) outsourced by the artist, or anything similar: in all of these cases, there takes place a sort of diffusion of authorship through the division of labour, destabilizing and problematizing the notion of authorship down to its very core. This has become quite common in artistic practice, but how is this reflected in law – for instance in intellectual property law? What legal tools exist for framing these practices in a suitable contract.</p>
<p>With <a class="artist"><span>Adinda Van Geystelen</span></a> (Extra City, Antwerp), <a class="artist"><span>Ulrike Lindmayr</span></a> (Escautville, Antwerp), <a class="artist"><span>Kerstin Winking</span></a> (Vriza, Amsterdam), <a class="artist"><span>Sari Depreeuw</span></a> (legal advisor).</p>
<!-- </p>Archive in construction</p> -->
</span>
</div>
</div>
<div id="caveat-at-lodger" class="event">
<div class="event-detail-header">
<img class="event-image" src="img/IMG_7618-1.jpg"/>
<p class="event-date"><time datetime="2018-5-19">19</time>, <time datetime="2018-5-20">20</time>, <time datetime="2018-5-21">21</time> May 2017</p>
<p class="event-title"><strong>Caveat</strong> at LODGERS, opening weekend</p>
<p class="event-exerpt">
<strong>Caveat</strong> is hosted by LODGERS, a collaboration between AIR Antwerpen and M HKA. LODGERS functions as <strong>Caveat</strong>’s first platform for public programmes, workshops, a display of artworks, legal material, and film screenings: a framework for research and artistic production as well as a public stage to negotiate possible futures of the artist contract.</p>
<span class="event-detail">
<img class="event-detail" src="img/IMG_9381_low.jpg"/>
<p class="event-detail-date">Fri 19</p>
<p class="event-infos">15.00─18.00</p>
<p><a class="artist"><span>Steyn Bergs</span></a> & <a class="artist"><span>Florence Cheval</span></a> (<strong>Caveat</strong> curators): introduction on <strong>Caveat</strong></p>
<p><a class="artist"><span>Sari Depreeuw</span></a> (<strong>Caveat</strong> legal advisor): keynote on <strong>Caveat</strong>’s legal paradigm</p>
<p class="event-detail-date">Sat 20</p>
<p class="event-infos">15.00─18.00</p>
<p><a class="artist"><span>Scott Raby</span></a> (<strong>Caveat</strong> artist in residence): presentation, ‘The Contract in Art as a Site of Production: From Radical Histories to Speculative Possibilities’</p>
<p><a class="artist"><span>Sara Martinetti</span></a> (art historian and curator): presentation, ‘The Artist’s Reserved Rights Transfer and Sale Agreement from the Perspective of Diplomatics’</p>
<p class="event-detail-date">Sun 21</p>
<p class="event-infos">15.00─18.00</p>
<p><a class="artist"><span>Carey Young</span></a> (artist): presentation, ‘Subject to Contract: Law as an Artistic Medium’</p>
<!-- </p>Archive in construction</p> -->
</span>
</div>
</div>
<!-- <div id="conf-law-labor" class="event presentation">
<p class="event-date">9 November 2017</p>
<p class="event-title">Conference on Law and Labor</p>
<p class="event-exerpt">Metamorphosis of Labour: Social Identity, Mobilization, Integration, Representation</p>
<p class="event-infos">between 13.45 and 14.15h</p>