C’était un rendez-vous Remake #3, 2021

In 2008, Kelly Schacht was asked to consider the realisation of a cafeteria, sitting area, bookshop and cloakroom; facilities that were lacking in the museum. Her answer was a short film, the film set of which around the entrance to the museum could be used to relax, have a coffee and browse through books. The title C’était un rendez-vous refers to the 1976 film of the same name by Claude Lelouch. In it, Lelouch races through Paris in a Mercedes, ignoring all the traffic lights, only to fall into the arms of his beloved at the Sacré-Coeur. Schacht's revival in MDD ended with the same car, where now a woman gets out to (secretly?) meet her waiting lover in front of the entrance hall.

For the original installation C’était un rendez-vous, Schacht was inspired by the modernist museum architecture of the 1960s, with typical (design) objects from that era. The now re-performed installation torpedoes the sixties to a more business-like atmosphere of the 1980-90s. The original text C’était un rendez-vous was reinstalled on the roof for the reopening. Visitors had to bring individual letters from a car park to the museum to give them to the artist and thus unnoticed became part of the reinstallation of the work. As a remake, this action refers to the car ride in the original film, the journey and the final meeting.

The artist further supplemented the book collection in the installation with each new exhibition. So far, the following publications can be browsed:

1. Grand Tour 2020; Pieter Van Bogaert; Kaaitheater vzw, 2020
2. MDd 7 – Museum Doordacht; Museum Dhondt-Dhaenens, 2008
3. Ik weet niet wat jij gaat zeggen; Erik Hagoort; Jap Sam Books, 2017
4. Intieme revoluties: Tegendraads in seks, liefde en zorg; Rahil Roodsaz en Katrien De Graeve; Boom, 2021
5. No One Belongs Here More Than You: Stories, Miranda July; Scribner, 2007
6. On Connection, Kae Tempest; Faber, 2020
7. All About Love: New Visions, bell hooks; Avon A, 2016
8. Playing the Whore: The Work of Sex Work, Melissa Gira Grant; Verso, 2014