Commit e4c55048 by sarah

corrections for a soft launch

parent b7140d73
......@@ -37,86 +37,108 @@
</aside>
<aside class="right">
<div class="agenda">
<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>
<p class="event-infos">European Economic and Social Committee (EESC)</p>
<p class="event-date">30<sup>th</sup> October → 3<sup>rd</sup> November</p>
<p class="event-title">Publishing & Performing Relationships. CAVEAT!!! at Bâtard Festival</p>
<span class="event-detail">
<p><a href="">Steyn Bergs</a> & <a href="">Ronny Heiremans</a> will present CAVEAT!!!</p>
<p>For the Metamorphosis of Labour symposium, the CAVEAT!!! core research team proposes to present an introductory outline of the project. As such, 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—questions revolving around labour and identity—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, CAVEAT!!! hopes to instigate a truly interdisciplinary dialogue on these pertinent questions.</p>
<p class="event-infos">Every day from 17:30, unless noted otherwise</p>
<p class="event-infos">Beursschouwburg, Brussels</p>
<p>Each day during Bâtard festival, an artist will present a proposal as a sharing ground for thoughts, discussions, and reflections on authorship, value, economy, distribution, participation...</p>
<p>With: <a href="">Eva Barto</a>, <a href="">Sofia Caesar</a>, <a href="">Loraine Furter</a>, <a href="">Ben Kinmont</a>, <a href="">franck leibovici</a>, <a href="">Eric Schrijver</a> & <a href="">OSP</a></p>
</span>
</div>
<div id="caveat-at-lodger" class="event">
<p class="event-date">19, 20, 21 May 2018</p>
<img class="event" src="http://jubilee-art.org/wp-content/uploads/2017/04/IMG_7618-1.jpg"/>
<p class="event-title">CAVEAT!!! at LODGERS, opening weekend</p>
<p class="event-exerpt">
CAVEAT!!! is hosted by LODGERS, a collaboration between AIR Antwerpen and M HKA. LODGERS functions as CAVEAT!!!’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="http://jubilee-art.org/wp-content/uploads/2017/04/IMG_9381_low.jpg"/>
<p class="event-detail-date">Friday 19 May</p>
<p class="event-infos">15-18h</p>
<p><a href="">Steyn Bergs</a> & <a href="">Florence Cheval</a> (CAVEAT!!! curators): introduction on CAVEAT!!!</p>
<p><a href="">Sari Depreeuw</a> (CAVEAT!!! legal advisor): keynote on CAVEAT!!!’s legal paradigm</p>
<p class="event-detail-date">Saturday 20 May</p>
<p class="event-infos">15-18h</p>
<p><a href="">Scott Raby</a> (CAVEAT!!! artist in residence): presentation, <em>‘The Contract in Art as a Site of Production: From Radical Histories to Speculative Possibilities’</em></p>
<p><a href="">Sara Martinetti</a> (art historian and curator): presentation, ‘The Artist’s Reserved Rights Transfer and Sale Agreement from the Perspective of Diplomatics’</p>
<div id="conf-law-labor" class="event presentation">
<p class="event-date">12 October 2018</p>
<img class="event" src="http://jubilee-art.org/wp-content/uploads/2018/10/IMG_9405-2_low.jpg"/>
<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>
<p class="event-detail-date">Sunday 21 May</p>
<p class="event-infos">15-18h</p>
<p class="event-infos">Daily 11-18h (entrance free, closed on Monday, Thursday open until 21h).</p>
<p><a href="">Carey Young</a> (artist): presentation, <em>‘Subject to Contract: Law as an Artistic Medium’</em></p>
<div class="metas">
<ul class="tags">
<li class="">artists</li>
<li class="">contract</li>
<li class="">Kunstenpunt</li>
<li class="">resilience</li>
<li class="">Helena Kritis</li>
<li class="">students</li>
</ul>
<ul class="documents">
<li class="pad">pad Radical histories</li>
<li class="pad">pad Speculative possibilities</li>
<li class="document">Contract: Site of Production</li>
<li class="document">Contract: Law as an Artistic Medium</li>
</ul>
</div>
</span>
<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="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 jesse.van.winden@jubilee-art.org</p>
</span>
</div>
<div id="presentation-sota" class="event reading-room presentation">
<p class="event-date">1st September 2018</p>
<img class="event" src="http://jubilee-art.org/wp-content/uploads/2013/02/about_Sumerische-schuld-opheffing-2400-VCbron-www.exiledonline.com-copy.png"/>
<p class="event-title">CAVEAT!!! at SOTA</p>
<p class="event-exerpt">State Of The Arts (SOTA) invites CAVEAT!!! to take part in its first annual camp on fair practice</p>
<span class="event-detail">
<p class="event-infos">14-17h</p>
<p class="event-infos">Allée du Kaai, 1000, Brussels</p>
<img class="event-detail" src="https://scontent.fbru1-1.fna.fbcdn.net/v/t1.0-9/40402769_1062725940566311_7290681747732168704_o.jpg?_nc_cat=0&oh=366276fe070bbfeed02109d6b8688ee6&oe=5BF5A81B"/>
<p>CAVEAT!!! will be present with :</p>
<ul>
<li>Reading Room #3, a collective reading of a fragment of <a href="">Anna Tsing</a>'s book, <em>The Mushroom at the End of the World</em></li>
<li>Presentation by <a href="">Vermeir & Heiremans</a>, <em>'A Modest Proposal: activating public resources as a commons?'</em></li>
<li>Presentation by <a href="">Louis Volont</a>, 'Creative Commons'</li>
<li>Discussion</li>
</ul>
</span>
</div>
<div id="conf-law-labor" class="event presentation">
<p class="event-date">17 August 2018</p>
<p class="event-title">Reading Room #2</p>
<div id="workshop-collaboration" class="event workshop">
<p class="event-date">26 May 2018</p>
<p class="event-title">Co-production, multiple authorship, collaboration</p>
<p class="event-infos">15-18h</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>
<p class="event-infos">16.00 → -17:30</p>
<p class="event-infos">WTC 25<sup>th</sup> floor</p>
<span class="event-detail">
<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 href="">Adinda Van Geystelen</a> (Extra City, Antwerp), <a href="">Ulrike Lindmayr</a> (Escautville, Antwerp), <a href="">Kerstin Winking</a> (Vriza, Amsterdam), <a href="">Sari Depreeuw</a> (legal advisor)</p>
</span>
<p>We will read and discuss collectively a fragment from Stephen Wright&#39;s Toward a Lexicon of Usership, <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 id="presentation-philippe-thomas" class="event presentation">
<p class="event-date">22, 23 June 2018</p>
<img class="event" src="http://jubilee-art.org/wp-content/uploads/2017/04/IMG_7625.jpg"/>
<p class="event-title">CAVEAT!!! and Philippe Thomas</p>
<p class="event-exerpt">
A series of presentations and debates revolving around the work of <a href="">Philippe Thomas</a> with <a href="">Agency</a>, <a href="">Patrick Bernier & Olive Martin</a>, <a href="">Antony Hudek</a>, <a href="">Judith Ickowicz</a>, <a href="">Sven Lütticken</a>, <a href="">Daniel McClean</a>, and <a href="">Julia Wielgus</a>.</p>
<span class="event-detail">
<img class="event-detail" src="http://jubilee-art.org/wp-content/uploads/2017/04/IMG_7625.jpg"/>
<p class="event-detail-date">Thursday 22 June</p>
<p class="event-infos">17-21h</p>
<p class="event-detail-date">Friday 23 June</p>
<p class="event-infos">15-18h</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, CAVEAT!!! 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 Ready-mades belong to everyone® 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.” [1] 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>CAVEAT!!! 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>
</span>
</div>
<div id="workshop-artist-curator" class="event workshop">
<p class="event-date">2 June 2018</p>
<p class="event-title">Artists and Curators: authorship & contracts</p>
<div id="conf-law-labor" class="event presentation">
<p class="event-date">18 June 2018</p>
<p class="event-title">Reading Room #1</p>
<p class="event-infos">12.00 → -13:00</p>
<p class="event-infos">WTC 25<sup>th</sup> floor</p>
<span class="event-detail">
<p>We will read and discuss collectively a text by artist franck leibovici, <em>Forms of life</em></p>
</span>
</div>
<div id="workshop-signature-right" class="event workshop">
<p class="event-date">16 June 2018</p>
<p class="event-title">The artist's signature and resales rights</p>
<p class="event-infos">15-18h</p>
<span class="event-detail">
<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 href="">Antony Hudek</a> (KASK, Ghent), <a href="">Johan Pas</a> (Royal Academy of Fine Arts, Antwerp), <a href="">Josine de Roover</a> (NICC, Brussels), <a href="">Julie Van Elslande</a> (legal advisor)
</p>
</span>
</div>
<span class="event-detail">
<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 href="">Anne-Sophie Radermecker</a> (ULB, Cultural Management, Brussels), <a href="">Maria Elena Minuto</a> (European Neo Avant-Garde Research Unit (ENAG), KU Leuven)</p>
</span>
</div>
<div id="workshop-distributing" class="event workshop">
<p class="event-date">9 June 2018</p>
......@@ -130,66 +152,80 @@
</span>
</div>
<div id="workshop-signature-right" class="event workshop">
<p class="event-date">16 June 2018</p>
<p class="event-title">The artist's signature and resales rights</p>
<p class="event-infos">15-18h</p>
<div id="workshop-artist-curator" class="event workshop">
<p class="event-date">2 June 2018</p>
<p class="event-title">Artists and Curators: authorship & contracts</p>
<span class="event-detail">
<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 href="">Anne-Sophie Radermecker</a> (ULB, Cultural Management, Brussels), <a href="">Maria Elena Minuto</a> (European Neo Avant-Garde Research Unit (ENAG), KU Leuven)</p>
<p class="event-infos">15-18h</p>
<span class="event-detail">
<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 href="">Antony Hudek</a> (KASK, Ghent), <a href="">Johan Pas</a> (Royal Academy of Fine Arts, Antwerp), <a href="">Josine de Roover</a> (NICC, Brussels), <a href="">Julie Van Elslande</a> (legal advisor)
</p>
</span>
</div>
<div id="presentation-philippe-thomas" class="event presentation">
<p class="event-date">22, 23 June 2018</p>
<img class="event" src="http://jubilee-art.org/wp-content/uploads/2017/04/IMG_7625.jpg"/>
<p class="event-title">CAVEAT!!! and Philippe Thomas</p>
<p class="event-exerpt">
A series of presentations and debates revolving around the work of <a href="">Philippe Thomas</a> with <a href="">Agency</a>, <a href="">Patrick Bernier & Olive Martin</a>, <a href="">Antony Hudek</a>, <a href="">Judith Ickowicz</a>, <a href="">Sven Lütticken</a>, <a href="">Daniel McClean</a>, and <a href="">Julia Wielgus</a>.</p>
<div id="workshop-collaboration" class="event workshop">
<p class="event-date">26 May 2018</p>
<p class="event-title">Co-production, multiple authorship, collaboration</p>
<p class="event-infos">15-18h</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">
<img class="event-detail" src="http://jubilee-art.org/wp-content/uploads/2017/04/IMG_7625.jpg"/>
<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 href="">Adinda Van Geystelen</a> (Extra City, Antwerp), <a href="">Ulrike Lindmayr</a> (Escautville, Antwerp), <a href="">Kerstin Winking</a> (Vriza, Amsterdam), <a href="">Sari Depreeuw</a> (legal advisor)</p>
</span>
</div>
<p class="event-detail-date">Thursday 22 June</p>
<p class="event-infos">17-21h</p>
<p class="event-detail-date">Friday 23 June</p>
<p class="event-infos">15-18h</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, CAVEAT!!! 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 Ready-mades belong to everyone® 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.” [1] 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>CAVEAT!!! 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>
</span>
<div id="caveat-at-lodger" class="event">
<p class="event-date">19, 20, 21 May 2018</p>
<img class="event" src="http://jubilee-art.org/wp-content/uploads/2017/04/IMG_7618-1.jpg"/>
<p class="event-title">CAVEAT!!! at LODGERS, opening weekend</p>
<p class="event-exerpt">
CAVEAT!!! is hosted by LODGERS, a collaboration between AIR Antwerpen and M HKA. LODGERS functions as CAVEAT!!!’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="http://jubilee-art.org/wp-content/uploads/2017/04/IMG_9381_low.jpg"/>
<p class="event-detail-date">Friday 19 May</p>
<p class="event-infos">15-18h</p>
<p><a href="">Steyn Bergs</a> & <a href="">Florence Cheval</a> (CAVEAT!!! curators): introduction on CAVEAT!!!</p>
<p><a href="">Sari Depreeuw</a> (CAVEAT!!! legal advisor): keynote on CAVEAT!!!’s legal paradigm</p>
<p class="event-detail-date">Saturday 20 May</p>
<p class="event-infos">15-18h</p>
<p><a href="">Scott Raby</a> (CAVEAT!!! artist in residence): presentation, <em>‘The Contract in Art as a Site of Production: From Radical Histories to Speculative Possibilities’</em></p>
<p><a href="">Sara Martinetti</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">Sunday 21 May</p>
<p class="event-infos">15-18h</p>
<p class="event-infos">Daily 11-18h (entrance free, closed on Monday, Thursday open until 21h).</p>
<p><a href="">Carey Young</a> (artist): presentation, <em>‘Subject to Contract: Law as an Artistic Medium’</em></p>
</span>
</div>
<div id="presentation-sota" class="event reading-room presentation">
<p class="event-date">1st September 2018</p>
<img class="event" src="http://jubilee-art.org/wp-content/uploads/2013/02/about_Sumerische-schuld-opheffing-2400-VCbron-www.exiledonline.com-copy.png"/>
<p class="event-title">CAVEAT!!! at SOTA</p>
<p class="event-infos">14-17h</p>
<p class="event-infos">Allée du Kaai, 1000, Brussels</p>
<p class="event-exerpt">State Of The Arts (SOTA) invites CAVEAT!!! to take part in its first annual camp on fair practice</p>
<!-- <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>
<p class="event-infos">European Economic and Social Committee (EESC)</p>
<span class="event-detail">
<img class="event-detail" src="https://scontent.fbru1-1.fna.fbcdn.net/v/t1.0-9/40402769_1062725940566311_7290681747732168704_o.jpg?_nc_cat=0&oh=366276fe070bbfeed02109d6b8688ee6&oe=5BF5A81B"/>
<p>CAVEAT!!! will be present with :</p>
<ul>
<li>Reading Room #3, a collective reading of a fragment of <a href="">Anna Tsing</a>'s book, <em>The Mushroom at the End of the World</em></li>
<li>Presentation by <a href="">Vermeir & Heiremans</a>, <em>'A Modest Proposal: activating public resources as a commons?'</em></li>
<li>Presentation by <a href="">Louis Volont</a>, 'Creative Commons'</li>
<li>Discussion</li>
</ul>
<p><a href="">Steyn Bergs</a> & <a href="">Ronny Heiremans</a> will present CAVEAT!!!</p>
<p>For the Metamorphosis of Labour symposium, the CAVEAT!!! core research team proposes to present an introductory outline of the project. As such, 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—questions revolving around labour and identity—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, CAVEAT!!! hopes to instigate a truly interdisciplinary dialogue on these pertinent questions.</p>
</span>
</div>
</div> -->
</div>
<div id="detail-container">
</div>
</aside>
</main>
<aside class="partners">
<p class="">CAVEAT!!! is a two-year co-create research project convened by the Brussels-based artists’ initiative Jubilee, in partnership with Open Source Publishing, No New Ennemies and Été 78 and supported by <img class="logo-partners" style="height: 20px;" src="img/logos/inoviris.svg"/>.</p>
<p class="">CAVEAT!!! 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 <img class="logo-partners" style="height: 20px;" src="img/logos/inoviris.svg"/>.</p>
</aside>
</div>
</body>
......
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......@@ -301,7 +301,7 @@ main {
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......@@ -324,7 +324,7 @@ main {
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......@@ -355,7 +355,7 @@ main {
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......
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