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.

Caveat presents a cabinet that will be activated during public programmes and workshops, with artworks, documents and books by Guillaume Bijl, Daniel Buren, Vaast Colson, Maria Eichhorn, Robert Filliou, Andrea Fraser, Goldin + Senneby, Judith Ickowicz, Ben Kinmont, Joseph Kosuth, Gareth Long, Gordon Matta Clark, Elaine Sturtevant, Philippe Thomas, Sarah Vanhee, Stijn Van Dorpe, Lawrence Weiner, and Carey Young.

Public programme May

Friday 19 May, 15-18h

∘ Steyn Bergs & Florence Cheval (Caveat curators): introduction on Caveat
∘ Sari Depreeuw (Caveat legal advisor): keynote on Caveat's legal paradigm

Saturday 20 May, 15-18h

∘ Scott William Raby (Caveat artist in residence). Lecture: The Contract in Art as a Site of Production: From Radical Histories to Speculative Possibilities
∘ Sara Martinetti (art historian and curator). Lecture: The Artist’s Reserved Rights Transfer and Sale Agreement from the Perspective of Diplomatics

Sunday 21 May, 15-18h

Carey Young (artist) presents her work

Friday Workshops Program

26 May 2017: Co-production, multiple authorship, collaboration

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. With Adinda Van Geystelen (Extra City, Antwerp), Ulrike Lindmayr (Escautville, Antwerp), Kerstin Winking (Vriza, Amsterdam), Sari Depreeuw (legal advisor).

2 June 2017: Artists and Curators: authorship & contracts

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?
With Antony Hudek (KASK, Ghent), Johan Pas (Royal Academy of Fine Arts, Antwerp), Josine de Roover (NICC, Brussels), Julie Van Elslande (legal advisor)

9 June 2017: Distributing art: the gallery contract

One of the most prevalent contracts in the art world is certainly the sales contract drafted by a certain artist’s (commercial or non-commercial) gallery. This is not to say, however, that many galleries do not operate in a more sub rosa manner, with a significant amount of negotiations happening and deals being made behind the screen, possibly without the full knowledge of the artist, too. Again, what are the hierarchies and possible power asymmetries here, and how can artists empower themselves in their working relation with gallerists? But also, what other forms of gallery contracts already exist, and which different types of contracts would benefit which different types of galleries?

16 June 2017: The artist's signature and resales rights

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 authors to receive a percentage of the profits made on their work after it has been sold.
With Anne-Sophie Radermecker (ULB, Cultural Management, Brussels), Maria Elena Minuto (European Neo Avant-Garde Research Unit (ENAG), KU Leuven).

Public programme June

Caveat and Philippe Thomas

Thursday 22 June, 18-21h & Friday 23 June, 15-18h
A series of presentations and debates revolving around the work of Philippe Thomas with Agency, Patrick Bernier & Olive Martin, Antony Hudek, Judith Ickowicz, Sven Lütticken, Daniel McClean, Julia Wielgus (Jan Mot)

In this two-day event on 22 and 23 June, Caveat focuses 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.” 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.

Caveat goes 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.

Caveat at LODGERS

19 May - 23 July
Daily 11-18h (Thursday until 21h), closed on Mondays**

LODGERS visiting address, entrance free:
M HKA top floor
Leuvenstraat 32
2000 Antwerp, Belgium

Caveat is initiated and curated by Jubilee, platform for artistic research and production. Jubilee is a Brussels based artists' initiative committed to opening knowledge, common interests and networks. Jubilee draws attention to artistic research as an integral element of artistic practice. The name Jubilee is taken from the Sumerian tradition of a periodical debt cancellation, referred to as a ‘jubilee’. Jubilee's team for Caveat consists of Florence Cheval & Steyn Bergs (curators), Sari Depreeuw (legal advisor), and Jubilee artists and team. Thanks to the teams of AIR Antwerp, M HKA, and Jan Mot.

The LODGERS programme is a collaboration between AIR Antwerpen and M HKA. It invites imaginative artistic initiatives to come and occupy the 6th floor at M HKA. The programme offers a unique opportunity for public interface, to organisations and initiatives who focus specifically on producing and commissioning, and who do not have their own public space.