Commit c2339e12 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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<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>
</main>
<aside class="partners">
<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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<dl>
<dt>email</dt>
<dd>info@caveat.be</dd>
<dt>mailing list</dt>
<dd>If you would like to receive the <em>Caveat</em> newsletter, please send us an e-mail.</dd>
<dt>address</dt>
<dd><strong>Caveat</strong></dd>
<dd>c/o Jubilee</dd>
<dd>Bd Koning Albert II laan 28-30, box 40</dd>
<dd>1000 Brussels; Belgium</dd>
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<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>&ldquo;&hellip;giving the situation the power to make us think&hellip;&rdquo;
<footer>&mdash; Isabelle Stengers, <em>Introductory notes on an ecology of practices</em></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=""><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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<li class="logo"><a><img class="logo" src="logo.png"/></a></li>
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<div class="pad live-notes read">
<h2><span class="author1">Caveat, </span><span class="author2">N</span><span class="author1">etwerk Aalst 22 June 2018</span></h2>
<p class="meta"><span class="author3">Report: Jesse van Winden (Jubilee) & Gijs de Heij (OSP)</span></p>
<p><span class="author2">Meeting with Netwerk's Protagonists</span><span class="author3"> & Netwerk team, and Caveat team, using ethertoff co-writing tool, and sound and image capture. As a starting point for a discussion on the protagonists' 'relationship' with Netwerk (the institution)
Caveat proposed to present </span><span class="author2">Stijn Van Dorpe</span></span><span class="author3">'s work The Contract.</span></p>
<p><span class="author2">Ronny Heiremans (artist, <span class="author3">co-initiator</span> of CAVEAT!!! and co-founder of Jubilee) <span class="author3">gives a short introduction:</span></p>
<p><span class="author3">on Jubilee:</span></p>
<p><span class="author3">Jubilee is a platform for artistic research and production. Initially a back-office for artists, we share an interest in how to make the practice of artists more sustainable.Latest project in that context : CAVEAT!!!</span></p>
<p><span class="author3">on Caveat:</span></p>
<p><span class="author3">CAVEAT!!! is an artistic reseach on the ecology of artistic practice;
SHORT SYNOPSIS here
Caveat wasn't conceived exclusively for artists, but for the whole of the socio-economic environment of the arts.
Mode of research co-writing contracts are developed together, writing together but also discussing together in Living-Labs. Situations where several actors are gathered around the table.</span></p>
<p><span class="author3">The arts are often at</span> <span class="author4">the spearhead of new working condiditions, as a model for other sectors. so we find it important
Who is on the other side of the table? Awareness of this is lacking sometimes.</span></p>
<p><span class="author4">Julie van Elslande (has been active in the cultural sector, amongst actors with a critical relationship towards law):
Do good agreements make good friends? <strong>Many consider the law as something unfamiliar and therefore have a hard time to use it as a tool.</strong>
The status quo is that while the contract describes what should be done, it's often only formalized at the end of the project. <strong>Relational contracts as a tool of shaping the relationship of who are working together.</strong>
Interested in the experiment that is developed at Netwerk Aalst. Feels like a linguistic and formal experiment. [XXXX]</span></p>
<p><span class="author4">Goal of CAVEAT!!! is now described as a 'toolbox', but not yet fixed. Mostly it should be a learning tool. <strong>Proliferation excercise: living labs, symposium, toolbox.</strong></span></p>
<p>on Stijn Van Dorpe:</p>
<p>We invited artist Stijn Van Dorpe who will be part of the CAVEAT!!! research.
Florence Cheval: curator, interested in <strong>speculative (?)</strong> scenarios created by artists that od feed back into reality.
There are ten to twelve artists with whom we want to connect. We invited Stijn Van Dorpe in the context of Eté 78 (artist residency operated by collector). Later a public moment there. We are working with various institutions.</p>
<h2>Stijn Van Dorpe</h2>
<p><i>*Het Contract*</i> (2016)</p>
<p class="pad-meta"> class=SHORT DESCRIPTION here </p>
<p>Stijn: More a starting point to bring three parties together. At the time, I was interested in working with youngsters at a 'technical school': in Belgium there is a stong hierarchy in levels of education. Another starting point was a question from a gallery 'Transit', a commercial gallery. The gallery is never a neutral space, always also an ideological space. [XXX...] a contract with the commercial gallery.</p>
<p>Five boxes have been made to hold the contracts. Every student built their own box. There were requirements: it had to hold the contract, but there was also space for creativity. Gallery had to promote and sell the works. Of course we had to discuss the contract, but the students were a 'weak party' because they were rather uninformed. The students at first weren't very interested in it as an art project, but because of the contract the students became interested, imagined a profit, with the sale of boxes through those contracts.<p>
<p>As an excercise, we worked with writer Robrecht Vanderbeeken who scripted a theatre text with fictive craftsmen and fictive gallerists. ("Art is not an economy, but it does have an economy.") It was performed in a planary discussion with Transit's gallerists Bert De Leenheer & Dirk Vanhecke. In the end, we had a contract that allotted 30% to the gallery.</p>
<h2>Film Stijn Van Dorpe</h2>
<p>How you act has an ethic, like to whom you sell: an interested buyer or a collector/investor storing it in it's basement.</p>
<p>"Art is a language you can learn. Learning it is part of the school of life."<p>
<p>Gallerist: Our name is valuable, we take 50% of the selling price to cover our risk. Exposé on the risks of gallerists.
I could offer you a salary for labour but consider it more interesting to negotiate on our cut.</p>
<p>Two students decided to opt for remuneration on basis of labour. One work was sold, to the gallerists actually. The problem for the gallerists was that the works were too cheap. The margin for the gallerists didn't warrant the investment, they didn't fully complete their job.</p>
<p>Stijn: Gallerists tend to be more business-minded than really interested in the meaning of the work.</p>
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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,
redistributed and/or sold with any software provided that any reserved
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.
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"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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"Original Version" refers to the collection of Font Software components as
distributed by the Copyright Holder(s).
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Sandrine Nugue
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