#107: Build a community / scene.|#53: Immaterial support for artists is important.|#55: Keep basic human needs on the forefront.|#127: Remain practical: what happens to the work in an endless exhibition?|#90: The best systems have a failure or ‘a hole’ in them…|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#137: Use the publication as programming space|#26: More artists, less borders.|#16: Kunsthal Gent will always be a construction site.|#2: Bring something new to the city of Ghent.|#81: Things come alive when there is friction.|#4: Pay what you can.|#105: Kunsthal Gent is local in scale, but globally connected.|#84: The White Cube is a lie.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#20: Are exhibitions the most suitable form for the art that we present?|#89: Build-in impurity within the organisation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#65: No excuses: Thursday morning, team meeting.|#51: How do we invite the true unknown?|#19: Have fun at the exhibition.|#29: We make the program for the artist that we exhibit.|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#35: The artist fee should be good.|#107: Build a community / scene.|#53: Immaterial support for artists is important.|#55: Keep basic human needs on the forefront.|#127: Remain practical: what happens to the work in an endless exhibition?|#90: The best systems have a failure or ‘a hole’ in them…|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#137: Use the publication as programming space|#26: More artists, less borders.|#16: Kunsthal Gent will always be a construction site.|#2: Bring something new to the city of Ghent.|#81: Things come alive when there is friction.|#4: Pay what you can.|#105: Kunsthal Gent is local in scale, but globally connected.|#84: The White Cube is a lie.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#20: Are exhibitions the most suitable form for the art that we present?|#89: Build-in impurity within the organisation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#65: No excuses: Thursday morning, team meeting.|#51: How do we invite the true unknown?|#19: Have fun at the exhibition.|#29: We make the program for the artist that we exhibit.|#120: The new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy.|#35: The artist fee should be good.|
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07.10.2019 20:00

film screenings

Pay what you can

Art cinema OFFoff presents:
Agnes Martin double bill

Agnes Martin

Gabriel

US • 1976 • 78' • kleur • digitaal • en gespr

Mary Lance

Agnes Martin: With My Back To the World

US • 2003 • 56' • kleur • stil • digitaal • en gespr

‘I thought my movie was going to be about happiness, but when I saw it finished, it turned out to be about joy – the same things my paintings are about.’ – Agnes Martin

Gabriel is de enige voltooide en zelden vertoonde film van de bekende Amerikaanse schilder Agnes Martin. In haar contemplatieve en fragmentarische studie van het landschap volgt ze de omzwervingen van een tienjarige jongen op het platteland van New Mexico, in de buurt van waar ze zelf woonde en werkte.

Mary Lance draaide haar documentaire Agnes Martin: With My Back To the Worldtussen 1998 tot 2002, het jaar dat Martin 90 werd. Interviews worden afgewisseld met foto’s van haar studio, archiefbeelden en beelden van haar schilderijen. Martin vertelt over haar werk, haar werkwijze, haar leven als kunstenaar en haar visie op het creatieve proces. Ze leest ook voor uit haar poëzie. Conform haar keuze om geïsoleerd te leven en werken verschijnt ze alleen in de film.

Programma: Sven Dehens & Isolde Vanhee
Tickets: €8 / €5 (reductie)

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AM 5 New Deal Films 2b 768x589