Bioscopic Books

#89: Build-in impurity within the organisation.|#15: Kunsthal Gent aims to be an extension of public space.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#17: An exhibition is never finished.|#127: Remain practical: what happens to the work in an endless exhibition?|#37: Operate with radical transparency.|#117: Consider design, organisational structures and architecture as programme.|#82: Clean and sterile looks professional, but really boring.|#35: The artist fee should be good.|#20: Are exhibitions the most suitable form for the art that we present?|#84: The White Cube is a lie.|#81: Things come alive when there is friction.|#6: Demand that visitors are active.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#10: Don’t be obsessed with numbers.|#36: We support production separately.|#111: Do it together.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#54: What about disabled artists?|#55: Keep basic human needs on the forefront.|#44: No name tags at dinner.|#99: Evolve according to changing needs.|#89: Build-in impurity within the organisation.|#15: Kunsthal Gent aims to be an extension of public space.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#17: An exhibition is never finished.|#127: Remain practical: what happens to the work in an endless exhibition?|#37: Operate with radical transparency.|#117: Consider design, organisational structures and architecture as programme.|#82: Clean and sterile looks professional, but really boring.|#35: The artist fee should be good.|#20: Are exhibitions the most suitable form for the art that we present?|#84: The White Cube is a lie.|#81: Things come alive when there is friction.|#6: Demand that visitors are active.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#10: Don’t be obsessed with numbers.|#36: We support production separately.|#111: Do it together.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#54: What about disabled artists?|#55: Keep basic human needs on the forefront.|#44: No name tags at dinner.|#99: Evolve according to changing needs.|

Bioscopic Books

Films verdiepen zich graag en gulzig in boeken, maar er bestaan ook boeken die een oogje hebben op films, gefascineerd door de moderne flair, de beweeglijkheid en de uitstraling van cinema. De tentoonstelling 'Bioscopic Books' brengt kunstenaarsboeken uit heden en verleden samen die eerder stilzwijgend of net volmondig refereren aan het medium film. Het is geen toeval dat het kunstenaarsboek zich kort na de opkomst van de cinema als autonoom kunstobject emancipeerde. Terwijl de schilderkunst en de fotografie de film benijdden om zijn bewegende beelden en verhalende kracht, omarmde het kunstenaarsboek als vanzelfsprekend zijn filmische potentieel. Cinematografische strategieën om vorm en betekenis sequentieel te genereren, werden vrank en vrij verkend. Op en tussen de pagina's van een boek blijken immers gedurfde beeldcombinaties en complexe camerabewegingen mogelijk die een ‘bioscopische’ ervaring triggeren en de lezer/kijker tot een actieve deelgenoot maken in de verhaallijnen en verbeeldingslogica’s die groeien op de grens van boek en film.

In de Kunsthal Gent worden meer dan 60 boeken tentoongesteld die zorgvuldig geselecteerd zijn door verschillende experts op het gebied van fotoboeken en kunstenaarsboeken. Daarnaast werden speciaal voor de tentoonstelling drie nieuwe kunstenaarsboeken gecreëerd door Tine Guns, Sophie Nys en Nicolas Provost die samen met één van hun films worden gepresenteerd.

Tine Guns, Watching the Black between the Stars. Gent: Grafische Cel, 2021.

Tine Guns, To Each His Own Mask. BE, 2017, 42’, colour, sound, digital.

Sophie Nys, Alas. Gent: Grafische Cel, 2021.

Sophie Nys, Not a Shoe. BE, 2018, 8’, b&w, sound, HD transfer from 16mm.

Nicolas Provost, The Victim and the Murderer. Gent: Grafische Cel, 2021.

Nicolas Provost, Plot Point. BE, 2007, 15’ colour, sound, digital.

Opening tentoonstelling: 24 april, 20:00

Tijdens de openingsuren van de tentoonstelling presenteert Art Cinema OFFoff een filmprogramma dat de relatie onderzoekt tussen wat kan worden gezegd/geschreven en wat kan worden getoond/tentoongesteld.

-Laszlo Moholy-Nagy, Do Not Disturb, US, 1945, 19’, colour, sound

-Marcel Mariën, L’imitation du cinéma, BE, 1959, 35’, b&w, silent

-Luke Fowler, Mum’s Cards, UK, 2018, 9’, colour, sound

Bioscopic Books is een samenwerking tussen LUCA School of Arts, Kunsthal Gent & Art Cinema OFFoff. De tentoonstelling is gekaderd binnen het onderzoeksproject ‘Bioscopic Books. Artist’s books as seen through the cinema-eye’ en sluit nauw aan bij het doctoraatsproject van Tine Guns ‘The photo book as a visual pageturner: a pre- and post-cinematographic editing story’.

Concept: Tine Guns, Inge Ketelers & Isolde Vanhee

Openingsuren: op zaterdag en zondag, 11:00—18:00

24.04.2021 08:00

LUCA School of Arts, Kunsthal Gent & Art Cinema OFFoff

Pay what you can

Bioscopic Books