Commit 4a8d6d3e authored by gijs's avatar gijs
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<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>
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<li><a href="caveat-about.html">About</a></li>
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<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>
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<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>
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<div class="about"> <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>
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...@@ -170,8 +54,8 @@ ...@@ -170,8 +54,8 @@
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<div class="prolog"> <div class="prolog">
<blockquote>Giving the situation the power to make us think. <blockquote>…giving the situation the power to make us think
<footer>– Isabelle Stengers, Introductory notes on an ecology of practices</footer></blockquote> <footer>– Isabelle Stengers, 'Introductory notes on an ecology of practices'</footer></blockquote>
</div> </div>
<div class="about"> <div class="about">
<dl> <dl>
...@@ -191,7 +75,7 @@ ...@@ -191,7 +75,7 @@
</aside> </aside>
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<aside class="partners"> <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>
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<div id="conf-law-labor" class="event presentation"> <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-date"><time datetime="2018-10-12">12 Oct 2018</time></p>
<p class="event-title">Reading Room #4</p> <p class="event-title">Reading Room #4</p>
...@@ -81,7 +81,7 @@ ...@@ -81,7 +81,7 @@
<span class="event-detail"> <span class="event-detail">
<p class="event-infos">16.00 ─ 17.30</p> <p class="event-infos">16.00 ─ 17.30</p>
<p class="event-infos">WTC 25<sup>th</sup> floor</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> <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>
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...@@ -129,14 +129,14 @@ ...@@ -129,14 +129,14 @@
<div id="presentation-philippe-thomas" class="event presentation"> <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-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-title"><STRONG>Caveat</STRONG> at LODGERS: <strong>Caveat</strong> and Philippe Thomas</p>
<p class="event-exerpt"> <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> 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"> <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-detail-date">Thu 22</p>
<p class="event-infos">17.00─21.00</p> <p class="event-infos">17.00─21.00</p>
...@@ -167,7 +167,7 @@ ...@@ -167,7 +167,7 @@
</div> </div>
<div id="workshop-distributing" class="event workshop"> <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-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> <p class="event-title"><STRONG>Caveat</STRONG> at LODGERS: Distributing art: the gallery contract</p>
...@@ -205,14 +205,14 @@ ...@@ -205,14 +205,14 @@
<div id="caveat-at-lodger" class="event"> <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-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-title"><strong>Caveat</strong> at LODGERS, opening weekend</p>
<p class="event-exerpt"> <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> <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"> <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-detail-date">Fri 19</p>
<p class="event-infos">15.00─18.00</p> <p class="event-infos">15.00─18.00</p>
...@@ -278,23 +278,23 @@ ...@@ -278,23 +278,23 @@
</div> </div>
<div class="event-detail-footer"> <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. <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>
<div class="event-detail-footer"> <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. <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). 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>
<div class="event-detail-footer"> <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). <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>
<div class="event-detail-footer"> <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. <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. 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. 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> </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"> </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. <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> <a>www.benkinmont.com</a></p>
...@@ -302,7 +302,7 @@ ...@@ -302,7 +302,7 @@
<div class="event-detail-footer"> <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". <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> </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> </p>
</div> </div>
<div class="event-detail-footer"> <div class="event-detail-footer">
...@@ -314,13 +314,13 @@ ...@@ -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. <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. 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> </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>
</div> </div>
</aside> </aside>
</main> </main>
<aside class="partners"> <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> </aside>
</div> </div>
</body> </body>
......
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...@@ -4,6 +4,7 @@ ...@@ -4,6 +4,7 @@
<link rel="stylesheet" type="text/css" media="all" href="styles.css" /> <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-about.css" />
<meta name="viewport" content="width=device-width, initial-scale=1"> <meta name="viewport" content="width=device-width, initial-scale=1">
<title>Caveat - contact</title>
<style> <style>
body { body {
margin: 10px; margin: 10px;
...@@ -26,7 +27,7 @@ ...@@ -26,7 +27,7 @@
<dt>email</dt> <dt>email</dt>
<dd>info@caveat.be</dd> <dd>info@caveat.be</dd>
<dt>mailing list</dt> <dt>mailing list</dt>
<dd>If you would like to receiver the <em>Caveat</em> newsletter, please send us an e-mail.</dd> <dd>If you would like to receive the <em>Caveat</em> newsletter, please send us an e-mail.</dd>
<dt>address</dt> <dt>address</dt>
<dd><strong>Caveat</strong></dd> <dd><strong>Caveat</strong></dd>
<dd>c/o Jubilee</dd> <dd>c/o Jubilee</dd>
...@@ -48,8 +49,8 @@ ...@@ -48,8 +49,8 @@
</ul> </ul>
</nav> </nav>
<div class="prolog"> <div class="prolog">
<blockquote>“…giving the situation the power to make us think…” <blockquote>&ldquo;&hellip;giving the situation the power to make us think&hellip;&rdquo;
<footer> Isabelle Stengers, <em>Introductory notes on an ecology of practices</em></footer></blockquote> <footer>&mdash; Isabelle Stengers, <em>Introductory notes on an ecology of practices</em></footer></blockquote>
</div> </div>
<!-- <div class="about"> <!-- <div class="about">
<dl> <dl>
...@@ -69,7 +70,7 @@ ...@@ -69,7 +70,7 @@
</aside> </aside>
</main> </main>
<aside class="partners"> <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> </aside>
</div> </div>
</body> </body>
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/media/ludi/data/work/work.caveat/fonts
\ No newline at end of file
Copyright (c) 2012 Natanael Gama (info@ndiscovered.com), with Reserved Font Name 'Cinzel'
This Font Software is licensed under the SIL Open Font License, Version 1.1.
This license is copied below, and is also available with a FAQ at:
http://scripts.sil.org/OFL
-----------------------------------------------------------
SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007
-----------------------------------------------------------
PREAMBLE
The goals of the Open Font License (OFL) are to stimulate worldwide
development of collaborative font projects, to support the font creation
efforts of academic and linguistic communities, and to provide a free and
open framework in which fonts may be shared and improved in partnership
with others.
The OFL allows the licensed fonts to be used, studied, modified and
redistributed freely as long as they are not sold by themselves. The
fonts, including any derivative works, can be bundled, embedded,
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names are not used by derivative works. The fonts and derivatives,
however, cannot be released under any other type of license. The
requirement for fonts to remain under this license does not apply
to any document created using the fonts or their derivatives.
DEFINITIONS
"Font Software" refers to the set of files released by the Copyright
Holder(s) under this license and clearly marked as such. This may
include source files, build scripts and documentation.
"Reserved Font Name" refers to any names specified as such after the
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Permission is hereby granted, free of charge, to any person obtaining
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in Original or Modified Versions, may be sold by itself.
2) Original or Modified Versions of the Font Software may be bundled,
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contains the above copyright notice and this license. These can be
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in the appropriate machine-readable metadata fields within text or
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