#51: How do we invite the true unknown?|#92: We’re a learning organisation.|#81: Things come alive when there is friction.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#137: Use the publication as programming space|#6: Demand that visitors are active.|#99: Evolve according to changing needs.|#40: Follow the artist|#36: We support production separately.|#14: Can you also remain a toddler institution?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#64: Arrange a distribution of forces.|#119: Be a space of production.|#68: Once in a while we need to get out of utopia and get something done.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#53: Immaterial support for artists is important.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#21: Live with the exhibition, spend time with it.|#111: Do it together.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#61: No all male install teams.|#39: Be the early stepping stone in an artist’s career|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#20: Are exhibitions the most suitable form for the art that we present?|#90: The best systems have a failure or ‘a hole’ in them…|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#62: Don’t be a dick. Full dishwasher: empty it.|#17: An exhibition is never finished.|#84: The White Cube is a lie.|#94: No objections? Just do it.|#132: Things will always look weird when you’re the first doing it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#16: Kunsthal Gent will always be a construction site.|#74: Last one out turns of the lights.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#65: No excuses: Thursday morning, team meeting.|#82: Clean and sterile looks professional, but really boring.|#28: Make Contracts.|#15: Kunsthal Gent aims to be an extension of public space.|#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.|#127: Remain practical: what happens to the work in an endless exhibition?|#91: Embrace doubt.|#26: More artists, less borders.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#44: No name tags at dinner.|#2: Bring something new to the city of Ghent.|#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.|#30: Don’t work with artists who are assholes.|#19: Have fun at the exhibition.|#54: What about disabled artists?|#37: Operate with radical transparency.|#107: Build a community / scene.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#105: Kunsthal Gent is local in scale, but globally connected.|#59: Always protect the floor when painting (or pouring concrete)|#34: We pay artists.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#32: Be pan-gender polyphonic.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#98: The success of it will not lie in the result but in the process.|#29: We make the program for the artist that we exhibit.|#4: Pay what you can.|#35: The artist fee should be good.|#124: Do less, do it better.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#112: Spaces today don’t need to be curated, but occupied.|#56: Take a lunch break.|#89: Build-in impurity within the organisation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#117: Consider design, organisational structures and architecture as programme.|#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|#55: Keep basic human needs on the forefront.|#51: How do we invite the true unknown?|#92: We’re a learning organisation.|#81: Things come alive when there is friction.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#137: Use the publication as programming space|#6: Demand that visitors are active.|#99: Evolve according to changing needs.|#40: Follow the artist|#36: We support production separately.|#14: Can you also remain a toddler institution?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#64: Arrange a distribution of forces.|#119: Be a space of production.|#68: Once in a while we need to get out of utopia and get something done.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#53: Immaterial support for artists is important.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#21: Live with the exhibition, spend time with it.|#111: Do it together.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#61: No all male install teams.|#39: Be the early stepping stone in an artist’s career|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#20: Are exhibitions the most suitable form for the art that we present?|#90: The best systems have a failure or ‘a hole’ in them…|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#62: Don’t be a dick. Full dishwasher: empty it.|#17: An exhibition is never finished.|#84: The White Cube is a lie.|#94: No objections? Just do it.|#132: Things will always look weird when you’re the first doing it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#16: Kunsthal Gent will always be a construction site.|#74: Last one out turns of the lights.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#65: No excuses: Thursday morning, team meeting.|#82: Clean and sterile looks professional, but really boring.|#28: Make Contracts.|#15: Kunsthal Gent aims to be an extension of public space.|#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.|#127: Remain practical: what happens to the work in an endless exhibition?|#91: Embrace doubt.|#26: More artists, less borders.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#44: No name tags at dinner.|#2: Bring something new to the city of Ghent.|#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.|#30: Don’t work with artists who are assholes.|#19: Have fun at the exhibition.|#54: What about disabled artists?|#37: Operate with radical transparency.|#107: Build a community / scene.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#105: Kunsthal Gent is local in scale, but globally connected.|#59: Always protect the floor when painting (or pouring concrete)|#34: We pay artists.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#32: Be pan-gender polyphonic.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#98: The success of it will not lie in the result but in the process.|#29: We make the program for the artist that we exhibit.|#4: Pay what you can.|#35: The artist fee should be good.|#124: Do less, do it better.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#112: Spaces today don’t need to be curated, but occupied.|#56: Take a lunch break.|#89: Build-in impurity within the organisation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#117: Consider design, organisational structures and architecture as programme.|#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|#55: Keep basic human needs on the forefront.|
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12.10.2020 20:00

film screenings

Pay what you can

Art Cinema OFFoff presenteert:
De essayfilm - Een filmvorm met verbeelding

Maandag 12.10, 20:00
De essayfilm: een filmvorm met verbeelding
Reserveren: https://offoff.be/


Thom Andersen

Juke: Passages from the Films of Spencer Williams

US • 2015 • 29' • z/w • digitaal

Hito Steyerl
November

DE • 2004 • 25' • kleur • digitaal

Patrick Keiller
Stonebridge Park

GB • 1981 • 21' • z/w • 16mm

De afgelopen jaren vertoonde OFFoff wel vaker films die onder de noemer ‘essayfilm’ of ‘cine-essay’ vallen. Dat is dit najaar niet anders met de films van Jean-Daniel Pollet en James Bridle, alsook dit programma dat integraal is gewijd aan deze veelzijdige filmvorm.

In 1940 omschreef Hans Richter de essayfilm als “the shaping of ideas on screen, using everything that exists and that allows to be invented.” Tachtig jaar later genieten essayfilms veel erkenning en cinefiele waardering als een bijzondere categorie van de filmpraktijk, met een eigen geschiedenis en eigen canonieke figuren en teksten. Het zijn vaak creatieve en experimentele documentaires op het kruispunt van sociale en persoonlijke geschiedenissen. Ze verhouden zich tot het literaire essay door als het ware te ‘schrijven met de camera’, waarbij de filmauteur zijn gedachten visueel of verbaal vormgeeft rond een idee of een onderwerp, vertrekkend vanuit een breed arsenaal aan beeldmaterialen en vertelstrategieën, maar vooral ook puttend uit ervaringen, gevoelens en fascinaties.

Door de subjectieve benadering krijgen verbeelding en fictie vaak een belangrijk aandeel in de zoektocht naar inzichten in de eigen en gedeelde werkelijkheid. Sterker nog: bij veel essayfilms is fictie de verbindende laag tussen de gerichtheid op het interpreteren van de realiteit enerzijds en een persoonlijke verhaal met een eigen verbeeldingslogica anderzijds. Dat geldt ook voor de verrassende films in dit programma, die op een wonderlijke wijze vanuit de realiteit in de fictie landen, of omgekeerd.

Dit programma kadert in een onderzoeksproject o.l.v. Isolde Vanhee en is een samenwerking tussen OFFoff en LUCA School of Arts.

3 Hito Steyerl November courtesy the artist