1.Gouvernement

Gouvernement is an independent artistic workcenter and cultural platform in central Ghent; a project that targets a variety of people and disciplines (visual arts, music, performance…). The emphasis lies on cross-fertilazation, “trial & error” and the unexpected. Gouvernement holds concerts,  expos, a residency program (INTERNEN) and other less-categorizable incidents.

Besides, the space (160 m2) is available for private events, rehearsals, workshops, presentations: info@gouvernement.gent

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1.1.Calendar

1.2.Information

1.2.2. Contact

A  Gouvernementstraat 7
9000 Gent, Belgium
M  info@gouvernement.gent
T  +32(0)92236477

BE0547643687
BE83363132421915

Wednesday/Thursday: 9-5pm (open office hours)

1.2.3. Location

1.2.4. Facebook

1.2.5. People

nele@gouvernement.gent
david@gouvernement.gent

1.2.6. Graphic design & website

concept- & graphic design: jelle martens
coding website: mathieu serruys

1.3.Image

1.3.1. Photos

flag

gate

entrance hall 1

performance

concert

geistnight

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2 sculptures

wall

performance

seats

performance

devlag/delading 1

devlag/delading 2

devlag/delading 3

geistnight Vol.4

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studio_2

lichtfestival

expo/concert

bal

billboard

gouverneur

gouvereneur (label)

crates

entrance hall 2

anniversary

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1.3.2. Colors

1.3.3. Emblem

1.4.Technical

1.4.1. Floorplan

1.4.2. General characteristics

Size: 150 sq. m.
capacity: 200 (standing), 50 (theater seats)
ceiling height: 3m60/3m20
load in/load out: via garage (no parking possible though! fire exit)

1.4.3. Stage characteristics

9 stage elements (2 x 1m)
max Stage Size: 18 sq. m.
stage height: 0,4 m
other available stage element legs: 0,8 m (12X) 1,2 m (12X)
curtains
black showtex colour curtains on of venue walls underneath solid aluminium cable trays.

1.4.4. Electricity

2 X 32 a sockets
20 X 16a sockets

1.4.5. Light

40 mini pars with gel holders on multifunctional fixed grid
1 x showtec easy fade 36 (dmx basic light desk)
3 x showtec multidim local control (4 channel dimmer)

1.4.6. Sound

8 X fbt archon 108 topspeakers
2 X fbt archon 208s3 x camco d power 2 amplifiers
1 X intelli X 48 processor
4 k&m microphone boom stand
3 k&m microphone low level boom stand
microphones: sure d112, sure beta 52A, sure sm57, sennheiser
e604 (2X), sennheiser e304, akg c1000 (2X), heil pr 20,
sennheiser md421
2 di’s (1 X bss, 1X radial j48)
mic stands & xlr cables
mixing desk: soundcraft spirit live ii 16 channel mixing desk

1.4.7. Beamer

optoma 141x

1.4.8. Recording studio

possibility to multitrack from live/venue room to control room.
protools 10 (16 in/16 out)

1.4.9. Miscellaneous

internet: wifi & ethernet cable

1.5.Newsletter

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2.Internen

Internen is a residency program focused on research, experiment and leaving comfort zones. Participants will be granted 4 weeks of investigation in an embryonic process. Be it very first steps or off-track maneuvers, the accent lies on development rather than on result. It’s about trying, failing and trying again. There are no restrictions on disciplines or themes.
Besides the 4 weeks on site, additional time for “running-in” and “follow-up” is incorporated.


 

2.1. JOHANNES VERSCHAEVE (12.11.2015 - 12.12.2015)


GV7C 2.1. 2015 


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Last Name: Verschaeve
First Name: Johannes
Date of Birth: 30.09.1980
Place of Birth: Kortrijk
Education: Philosophy
References
Thevanjets.be


2.1.1  Describe briefly the path (whether artistic or not) you have followed so far.

Music mainly. Writing and playing songs with my boys from The Van Jets since 2003. Fantasizing about cool concepts and stage stuff. First art performance last summer.

2.1.2  How would you describe your work in terms of themes, style, techniques, …?

Stylisticly I try to match opposites like rough and beautiful. Nice and smart tunes with a trashy look. The Van Jets are a blend of guitars and synths, quite songbased. I also like to keep my writing process a bit naïve, so I don’t like to know too much about it all. Most music or musicians magazines make me wanna laugh or cry. Imagination is my main instrument and I practice all day. Themes are decadence, overconsumption, nihilstic post-society kids, sex, drugs and candy.

2.1.3  What would you consider your most important  achievement (whether or not artistic) to date?

Everything about and around the album “Welcome to Strange Paradise”.

2.1.4. Who or what has been an inspiration to your work?

Non-fiction books, David Bowie, Robert Wilson, Gorillaz, Iggy Pop, video and song of “I’ve seen that face before” by Grace Jones, Prince, kids, life, The Clash, A Clockwork Orange, Jackson Pollock, pop-art, Marcel Duchamps.

2.1.5. Which (art) disciplines other than the ones you’re familiar with, draw your attention or would you like to immerse yourself into?

Naïve visual art, performance, sound-art, writing.

2.1.6. Describe what your focus will be during your residency in Gouvernement?

Let’s call it “Future Primitives”

Some friend gave me the published manifest of the Unabomber, the american anti-technology terrorist. Vivid stuff. It sparked a fantasy of a kind of Future Primitive Age, a “downfall” after a major crisis, where we can’t rely on society as we know it. Post-industrial cavemen kind of. AD and BC unite. I’ll experiment with visual and other techniques to make artefacts, sounds, performance, whatever seems to fit.

2.1.7. In which circumstances or environment would you consider yourself at your most creative?

In a retreat, change of environment. A deadline with a specific goal helps also. I like a simple set up without too much distraction to work fast if needed.


2.2.1  How does “INTERNEN” appeal to you specifically?

It’s a project where I’m forced to do things I would otherwise not do so thoroughly, out of laziness or lack of opportunities. It gives me a chance to retreat to a place with a definite goal, both experimenting in the process and making things to show people.

2.3.3. What do you expect from a residency in terms of personal artistic development and in terms of  guidance and support?

Basic comfort and sometimes the smell of freshly washed sheets for a sleepover. Let some practical stuff to the Gouvernement people. Informal feedback as in kitchen-talks at lunch or after some beers at night. I expect Gouvernement to give me some feedback once in a while, and also suggestions of art or people that might inspire or help me.

2.3.4 Who (closeby/faraway, realistic/utopic, living/dead) is granted lifetime membership to your ultimate (secret) society?

Robert Wilson, Prince and Damon Albarn.


12.11.2015 Inauguration & flag raising ceremony Interne_1

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17.11.2015 Excerpt out of “Technological Slavery: The Collected Writings of Theodore J. Kaczynski”

 

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26.11.2015 Images installation

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06.12.2015 Promotional video “Future Primitives”


11.12.2015 Images performance “Future Primitives”

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11.12.2015 Achim Sredlov – live-accompaniment (film: “Tetsuo, The Iron Man, Shinya Tsukamoto, 1989)

 

2.2. DIEGO LATRUWE (16.03.2016 - 07.04.2016)


GV7C 2.2. 2016 


Last Name: Latruwe
First Name: Diego
Date of Birth: 01.06.1990
Place of Birth: Knokke-Heist
EducationMaster of Fine Arts (Luca, School of Arts, Ghent)

References: Tumblr


2.1.1  Describe briefly the path (whether artistic or not) you have followed so far.

When I started drawing as a teenager, it was a matter of immersion. I wanted to get completely lost in the work I was making, the same way I did by playing videogames. It was an escapist approach to Art, that worked very well for me. Today, I still focus on the analogy between different forms of distraction and themes like escapism, longing, transcendence and (the loss of) control that go hand in hand with it.

2.1.2  How would you describe your work in terms of themes, style, techniques, …?

 I mainly investigate (through video art & installation) our longing for love, status, dignity and meaning based on footage I find in pop, -games, & internetculture. My source material can be videoclips, gifs, screensavers etc.

2.1.3  What would you consider your most important  achievement (whether or not artistic) to date?

Although there’s many things I’m proud of (a breakthrough in a working process, being able to control a medium, a successful set up), I still do not feel I experienced major achievements. I rather view my artistic development on a longer term. I’m still in a phase of collecting experiences/impressions and the processing of information/images. At the moment I consider this as more important than obtaining specific achievements.

2.1.4. Who or what has been an inspiration to your work?

What I do is only relevant in the context of the culture in which I live. My work is a reaction to my daily environment. Therefore, I am mainly influenced by art that reflects this in a direct way: the books by Don Delillo, David Foster Wallace & Douglas Coupland, and the visual arts by Lawrence Lek, Jon Rafman & Alex da Corte.

2.1.5. Which (art) disciplines other than the ones you’re familiar with, draw your attention or would you like to immerse yourself into?

I keep on changing the medium I’m working with and I love to try out new things. In the past I’ve been working with graphical techniques, digital & analog photography/video, electronic music, drawing, painting, images,…At the moment I’m preoccupied with the development, the  animation and the publication of virtual 3D-models. The more I understand about it, the more I feel the urge to immerse myself in the digital realm ( e.g. developing games, writing software)

2.1.6. Describe what your focus will be during your residency in Gouvernement?

I am fascinated by conspiracy theories, specifically the way they balance on the thin line between reality and fiction. By reading and watching an enormous amount of supposed conspiracies, I have not only become a bit of an expert but also became convinced by several theories. An astonishing experience which leaves me with the question: Have I become mad or did I just get better informed? I’d like to make video’s, an installation or maybe a book about losing “the sense of reality ” and the questioning of “a general truth”

On the bigger, the project tackles the isolation/loneliness and paranoia caused by new technologies.

2.1.7. In which circumstances or environment would you consider yourself at your most creative?

When I’m alone, early in the morning (after 2 cups of coffee) and essentially “in silence”.

2.2.1  How does “INTERNEN” appeal to you specifically?

I’m looking forward to have conversations about my work with people I would have never met otherwise. The presence of technical means and support could result in a different view on the process. Normally I just learn from Youtube.

2.3.3. What do you expect from a residency in terms of personal artistic development and in terms of  guidance and support?

I hope to get a chance to do something unexpected and step out of my comfort zone. Getting support can only accelerate this. Furthermore, I’d like to gain experience in general and get feedback on the presentation of my work.

2.3.4 Who (closeby/faraway, realistic/utopic, living/dead) is granted lifetime membership to your ultimate (secret) society?

Writers mainly, the ones I mentioned earlier in 2.1.4 and also Borges and W.G Sebald.


16.03.2016: Interne_2 hoists his residential flag

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17.3.2016: Source material

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18.03.2016: Stills video installation “Exogesis: Dollar Bill”

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19.03.2016: Piet R.M. Dierickx working on audio track for “Iconogesis II : Planet X”

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22.03.2016: Residential & Gouvernemental flags half-post


24/25/26/27.03.2016: Stills from In Situ-installation “Iconogesis II : Planet X” during Tumultingent#4

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24/25/26/27.03.2016: Video In Situ-installation “Iconogesis II : Planet X” during Tumultingent#4. Soundsculptures by Piet. R.M. Dierickx.


06/07.04.2016 Stills final presentation “ICONOGESIS I-IV”_MG_9967

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tafel planet x (4)

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06/07.04.2016: Apophenia: the tendency to perceive a pattern among unrelated or random ideas or objects (text/lecture by Diego Latruwe)


I am awake
I am awake and my eyes are wide open now
A veil was lifted and through it came the light
Throwing a deep and lasting shadow on my mind.
Now I can not avoid but repeating.
That nothing happens by accident anymore
With a mouthfull of poisonfull Mercury.
As to the deep secret of Khazaria
This shadow called darkness and light.
In my sleeplessness and anxiety
Nothing happens by accident anymore
I see the news and I can only see deception
I see the world around me and I see it’s last days
All are hinged on Ancient Worship,
As It appears in the abyss of truth.
The word can’t get enough
They told me as I am about to tell you
Before justice creates the paradise.
Built around us, the control grid of faith.
Nothing happens by accident anymore
Like in the videogames in which they teach me
To be cruel and reckless
and pity life like them
It appears as a power over you and I
Like that what came into being after.
by the light of the flickering screen
I saw what they had done
Ceremonies that they were legion
A god of sacrifice revealed
Explained patiently and in detail,
over and over again
When it is called upon mystery;
Babylon the great from the east
Accompanied by sweeping music
In the midst of stones of everyman
These devices speak to each other behind my back.
Created from a secret Satanic-hybrid being
And From it every deity came forth.
Who do they report back to, and about what?
And what happens to their conversations?
I’ll find out in a courtroom, when it’s too late.
As the whole race gazes into itself.
Masons, Bonesmen, Bilderburgers and Bohemians
You are unaware and confused
Too weak for what was innocent.
One after another back into the memory
between unfulfilled desire and a hope that is groundless
That things will get better
If only you believe
They are beautiful and aim to please.
Now I am awake while you are sleeping
In your small lives completely unaware
I wish I was still one of you ,I truly do
Nothing could have prepared me for this

Your TV is staring right back at you.
It predicts and manipulates your behaviour.
The “eye in the sky” can read what I’m typing
They keep lists of everything.
Once you cross the line you can’t go back
Can you unlearn what you have always felt?
Once you eat the apple you’re expulsed
The more I know the heavier I feel
I’ll dissapear before soon, you’ll see.
They told me as I am about to tell you
To honor their god, the bull, the owl, the goat

JHWH, the beast of babylonia. The eye of Horus
A boundless lust. A primal desire to own and subdue.
They worship it at the shrine,
In business suits and ties. Blood sacrifices, smiles
BP NSA CFR CNN HSBC UNO DARPA
you never know for sure who they are.
In a facility designed to detect and analyze.
They keep and collect records of everything.
The ultimate purpose is classified.
Microwave-rays to cause  amnesia.
Shaking hands and making deals
You never know for sure what they really want
what are they planning for us?
Drones with cellphone scanners fly over the cities.
You’re machine knows you better than you do.
It knows what you see so it knows what you think
It decides your needs for you.
I am awake and I am watching.
How the earth is flat as a disk between skies.
And how they deny it, as it’s plain to see.
Sowing doubt is their main objective.
Follow the money they say
And I watched it pour across the screen
Always down and out of sight, ,
Into the old Swiss vaults underground
Sometimes I just want it to happen
like in the movies they show to prepare us
Like in all those shows about the aftermath
Only the most ruthless will survive
Become a bright, flat surface. Cast no shadow.

08.04.2016 retired flag

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2.3. ATELIER BILDRAUM (09.05.2016 - 05.06.2016)

 


GV7C 2.3. 2016 


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Last Name: Bouckaert/Salembier
First Name: Charlotte/Steve
Date of Birth: 10.09.1983 / 09.08.1976
Place of Birth: Gent / Ieper
Education: sociology-scenography-photography / achitecture
References: Atelier Bildraum Website


2.3. Describe briefly the path (whether artistic or not) you have followed so far.

Atelier Bildraum  is Charlotte Bouckaert and Steve Salembier, a photographer and an architect working together on performances, scenography, installations and visual art. Charlotte studied sociology, photography and scenography. As a solo-artist she has realized several performances and a series of exhibitions in the Brussels region. Steve studied architecture and worked with Stéphane Beel & Lieven Achtergael architects, participating in the realization of several major public buildings. Between 2001 and 2009 he also taught design practice at the Henry van de Velde-Institute.

In 2013 Charlotte and Steve started their cooperation as an artistic duo based on their shared fascination for the intertwining of time, space and image.

A first artistic milestone was realized in 2015 as their first major performance (“Bildraum”) was selected by Theater aan Zee and got awarded by the jury with the Big in Belgium-prize.

2.4. How would you describe your work in terms of themes, style, techniques, …?

Atelier Bildraum’s work consists of installations, photography, video and performances which reframe the correlation between time and space, image and imagination. As a consequence photography and architecture are the Atelier’s two basic disciplines. The artistic research focusses on how the photographic image can escape from its classical frames and becomes an integral part of the spacial context in which it is presented; on how photographic imagery derives its significance from the circumstances it is being made in and from the space in which it is shown; on how the spatial can be created through the photographic and vice versa. The work is about different notions of space & time in our contemporary image culture and it subsequently deals with conflicting themes such as the uniqueness of an image versus its’ current transient nature. Apart from the visual, the auditive is another essential element in the overall work. Sound carries a massive amount of information about spatiality and contributes largely to the sensorial imagination of an audience. The process of creating image and sound, of constructing, transforming, registering and representing space live, is thus often used as a layer of meaning. Consequently it becomes an integral part of the work.  

2.5. What would you consider your most important achievement (whether or not artistic) to date?

Taking the time to enable ourselves to answer questions thoroughly. Accepting that time will create only more questions. Cultivating impatience to keep on deliberating the concept of time.

2.6. Who or what has been an inspiration to your work?

Moving from Brussels to the countryside near Ronse, from an urban to a more quiet rural environment. It enables us to observe fewer things more intensively, to distill more thoughts from fewer stimuli. Having a horizon to stare at is incredibly fertile for us.

2.7. Which (art) disciplines other than the ones you’re familiar with, draw your attentention  or would you like to immerse yourself into?

Our two basic disciplines, architecture and photography, are above all applied arts and basically offer us a panoramic variety of potential applications. However, every new project creates a new field of fascination. For example; In the past we’ve worked on memory and how it interferes with the spaces we live in, currently we have a huge crush on gardens and landscapes since we’re working on a project dealing with Monet and his Giverny garden. But in the nearby future we plan to do some research on the notion of ‘control’ within the fields of art exhibitions versus performing arts. For this research we plan to have conversations with people from a multitude of different disciplines such as curators, gallerists, artistic directors and producers, writers, journalists, critics, technicians, philosophers and finally also other visual artists, performers and musicians.

2.8. Describe what your focus will be during your residency in Gouvernement?

Atelier Bildraum plans to work on two separate paths:

First we wish to continue our ongoing research on the intertwining of time, space and image and inject our artistic play within the specific context of Gouvernement in order to explore potentially new angles. This research deals with how the photographic image can  escape from its’ classical framing and become an integral part of the spacial context in which it is presented; on how photographic imagery derives its’ significance from the circumstances it is being made in and from the space in which it is shown; on how the spatial can be created through the photographic and vice versa. We plan to develop some new concepts and try them out in situ. A trial and error basis for potentially new work.

Second, we wish to initiate a more theoretical and comparative research into the notion of ‘control’ within the fields of art exhibitions on the one hand and performance art on the other. In order to create a proper conceptual framework, we will organise a series of interviews with people from a multitude of disciplines. These talks will raise questions such as; To which degree can exhibitions be constructed experiences in which the visitor’s senses are being controlled by the artist/curator? What’s the relationship between the need of the spectator for freedom of experience and interpretation and the need of the artist for his work being experienced in a well defined and particular way? What aspects can make exhibitions tend to become performed experiences or even theatre? To what extent is contemporary visual art becoming performative?

2.9. In which circumstances or environment would you consider yourself at your most creative?

In an environment that creates a certain isolation and enforces a kind of rhythm. A well defined place and time in which ideas get the space needed to develop and where you can retreat from on a regular basis. 

2.10. How does the approach of “INTERNEN” appeal to you specifically?

The idea that question marks are tolerated.

2.11. What do you expect from a residency in terms of personal artistic development and in terms of guidance and support?

Transforming question marks into colons. In other words: create windows with a broader view.

2.12. Who (close by/far away, realistic/utopic, living/dead) is granted lifetime membership to your ultimate (secret) society?

People who are enthused, who try and/or succeed in creating wide windows on the broader world from their own consciously restricted or narrowed down reality.


09.05.2016 flag design

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10.05.16 flag Inauguration IMG_0578

10.05.2016 signature

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11.05.16 play of light

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19.05.2016 Announcement: Children of the White Leaf performance on 02.06

Children Of The White Leaf, is a platform for artistic collaboration run by Stefaan Huyghe & Philip Janssens. During their live performances, COTWL combine the sound of fieldrecordings, samples, tapeloops and piezo-mics. Coincidence is an important and defining factor in the creation and experience of their sound & image.  They compose soundscapes and drones with modest harmonies that occasionally come to surface and eventually let the space vibrate heavily. In March 2013, they released their first COTWL CD # I. In the meanwhile they carried out projects in  Bolzano (Italië), Extra City, KW (Berlin) & at Hotel Charleroi.

Atelier Bildraum has a close connection and a strong affinity with the artist Philip Janssens who has his workspace at Charlotte and Steve’s home in Saint-Saveur.

COTWL Tumblr

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20.05.2016: space-image-time (W.I.P.)


23.05.2016 Valid Lover (live)

Valid Lover (UK) presents a live performance for processed guitar and modular synth.
Layers of played and found sounds are collapsed together into waves of warm distortion, resonance and rhythmic subharmonics.
This performance will also include a unique sonic collaboration with Atelier Bildraum.
Think connections with Fennesz, Mammifer, Ben Frost, SunnO)))
Think cosmic pessimism leaving marks in the dust of this planet.

“There is a kind of music that can be thought of as perfect. That’s not a qualitative statement of taste so much as an attribution that recognizes how fierce dedication to an elegant scope can yield something singular, effecting, evocative. The term applies, certainly, to a series of live improvisations for digitally mediated electric guitar recently posted by Valid Lover” – Marc Weidenbaum (*author of 33 1/3 book on Aphex Twin’s Selected Ambient Works Volume II,*)

http://validlover.me/


01.06.2016 vaseline on plexi

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02.06.2016 presentation: performance

2016-06-02 13.00.02

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02.06.2016 presentation: landscapes

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02.06.2016 presentation: landscapes 2


02.06.2016 presentation: augmenting space

2016-06-02 13.47.48-1

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02.06.2016 presentation: screening “Musée Moule”

2016-06-03 12.55.06