#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#34: We pay artists.|#20: Are exhibitions the most suitable form for the art that we present?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#6: Demand that visitors are active.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#51: How do we invite the true unknown?|#29: We make the program for the artist that we exhibit.|#28: Make Contracts.|#40: Follow the artist|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#26: More artists, less borders.|#90: The best systems have a failure or ‘a hole’ in them…|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#30: Don’t work with artists who are assholes.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#92: We’re a learning organisation.|#119: Be a space of production.|#64: Arrange a distribution of forces.|#68: Once in a while we need to get out of utopia and get something done.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#82: Clean and sterile looks professional, but really boring.|#44: No name tags at dinner.|#21: Live with the exhibition, spend time with it.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#99: Evolve according to changing needs.|#16: Kunsthal Gent will always be a construction site.|#84: The White Cube is a lie.|#14: Can you also remain a toddler institution?|#98: The success of it will not lie in the result but in the process.|#54: What about disabled artists?|#36: We support production separately.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#56: Take a lunch break.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#19: Have fun at the exhibition.|#91: Embrace doubt.|#53: Immaterial support for artists is important.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#4: Pay what you can.|#74: Last one out turns of the lights.|#15: Kunsthal Gent aims to be an extension of public space.|#117: Consider design, organisational structures and architecture as programme.|#17: An exhibition is never finished.|#94: No objections? Just do it.|#127: Remain practical: what happens to the work in an endless exhibition?|#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|#124: Do less, do it better.|#39: Be the early stepping stone in an artist’s career|#32: Be pan-gender polyphonic.|#2: Bring something new to the city of Ghent.|#137: Use the publication as programming space|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#89: Build-in impurity within the organisation.|#81: Things come alive when there is friction.|#61: No all male install teams.|#55: Keep basic human needs on the forefront.|#132: Things will always look weird when you’re the first doing it.|#37: Operate with radical transparency.|#105: Kunsthal Gent is local in scale, but globally connected.|#112: Spaces today don’t need to be curated, but occupied.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#65: No excuses: Thursday morning, team meeting.|#107: Build a community / scene.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#35: The artist fee should be good.|#111: Do it together.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#10: Don’t be obsessed with numbers.|#62: Don’t be a dick. Full dishwasher: empty it.|#59: Always protect the floor when painting (or pouring concrete)|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#34: We pay artists.|#20: Are exhibitions the most suitable form for the art that we present?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#6: Demand that visitors are active.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#51: How do we invite the true unknown?|#29: We make the program for the artist that we exhibit.|#28: Make Contracts.|#40: Follow the artist|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#26: More artists, less borders.|#90: The best systems have a failure or ‘a hole’ in them…|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#30: Don’t work with artists who are assholes.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#92: We’re a learning organisation.|#119: Be a space of production.|#64: Arrange a distribution of forces.|#68: Once in a while we need to get out of utopia and get something done.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#82: Clean and sterile looks professional, but really boring.|#44: No name tags at dinner.|#21: Live with the exhibition, spend time with it.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#99: Evolve according to changing needs.|#16: Kunsthal Gent will always be a construction site.|#84: The White Cube is a lie.|#14: Can you also remain a toddler institution?|#98: The success of it will not lie in the result but in the process.|#54: What about disabled artists?|#36: We support production separately.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#56: Take a lunch break.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#19: Have fun at the exhibition.|#91: Embrace doubt.|#53: Immaterial support for artists is important.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#4: Pay what you can.|#74: Last one out turns of the lights.|#15: Kunsthal Gent aims to be an extension of public space.|#117: Consider design, organisational structures and architecture as programme.|#17: An exhibition is never finished.|#94: No objections? Just do it.|#127: Remain practical: what happens to the work in an endless exhibition?|#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|#124: Do less, do it better.|#39: Be the early stepping stone in an artist’s career|#32: Be pan-gender polyphonic.|#2: Bring something new to the city of Ghent.|#137: Use the publication as programming space|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#89: Build-in impurity within the organisation.|#81: Things come alive when there is friction.|#61: No all male install teams.|#55: Keep basic human needs on the forefront.|#132: Things will always look weird when you’re the first doing it.|#37: Operate with radical transparency.|#105: Kunsthal Gent is local in scale, but globally connected.|#112: Spaces today don’t need to be curated, but occupied.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#65: No excuses: Thursday morning, team meeting.|#107: Build a community / scene.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#35: The artist fee should be good.|#111: Do it together.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#10: Don’t be obsessed with numbers.|#62: Don’t be a dick. Full dishwasher: empty it.|#59: Always protect the floor when painting (or pouring concrete)|
Deze website maakt gebruik van cookies om uw gebruikservaring te verbeteren. Meer informatie

30.11.20

Evenement

Art Cinema OFFoff presenteert:
Bjørn Melhus

Maandag 30.11.2020, 20.00
Bjørn Melhus
Online screening
Incl. introductie en nagesprek met de regisseur

Sugar

DE • 2019 • 20' • kleur • digitaal

Freedom & Independence

DE • 2014 • 15' • kleur • digitaal

Moon over Da Nang

DE • 2016 • 15' • kleur • digitaal

Inschrijven

In het kader van ons online aanbod organiseert OFFoff een gratis online screening van drie kortfilms van de Duits-Noorse kunstenaar Bjørn Melhus, inclusief een introductie en nagesprek met de regisseur.

Bjørn Melhus werkt met film, video, installatie en fotografie. Hij opent in zijn werk een poort tot een alternatieve werkelijkheid, een surreële en kitscherige droomwereld die zijn fundamenten vindt in onze eigen realiteit en een (in)directe kritiek vormt op diens tekortkomingen. Melhus vertrekt van een strategie van fragmentatie in combinatie met een de- en reconstructie van bestaande segmenten uit de massamedia, een assemblage van quotes en filosofie die zijn futuristische sprookjes inhoud verschaffen. Deze techniek leidt volgens Melhus niet enkel tot nieuwe interpretaties en kritieken maar herdefinieert zo ook de relatie tussen massamedia en de kijker.

Sugar

Sugar betreft een nieuwe aanvulling in Melhus’ singuliere discours, met de maker in de rol van een HON, het post-apocalyptische overblijfsel van de mens, een zielloze “post-influencer” beperkt tot het eeuwig reciteren van YouTube-aforismen. Sugar onderscheidt zich van bijvoorbeeld Freedom & Independence (2014) of Can You See My Art (2018) in zijn meer directe confrontatie tot de “grote vragen” rond onze huidige maatschappij. Sugar volgt een robot in zijn poging om de mens als gevolg van het “ego-turbo-capitalism” terug wat menselijkheid te bezorgen. De film won dit jaar in Oberhausen de Prijs in de Duitse filmcompetitie.

Freedom & Independence

Deze experimentele kortfilm stelt het huidige ideologische maatschappijmodel in vraag waarbij het religieus kapitalisme zijn intrede doet. Dit gebeurt via de confrontatie van ideeën en uitspraken van de zelfbenoemde objectieve filosoof en schrijver Ayn Rand met evangelische elementen uit Amerikaanse mainstreamfilms. Malhus speelt alle personages zelf.

Moon over Da Nang

Melhus probeert op zijn eigen, experimentele wijze vat te krijgen op Amerika’s post-socialistische counterculture op het kruispunt tussen verleden en toekomst. Dit doet hij met een mix van interviews, surrealistische sequenties en de documentatie van het maakproces van een levensgroot marmeren beeld in Da Nang, een stad in Vietnam die 40 jaar na de oorlog ontdekt is door internationale investeerders en toeristen. Vietnams schimmige verleden wordt stilaan gemaskeerd door de opbouw van hotels en luxeresorts.

Melhus Moon over da Nang 768x410