#51: How do we invite the true unknown?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#90: The best systems have a failure or ‘a hole’ in them…|#68: Once in a while we need to get out of utopia and get something done.|#28: Make Contracts.|#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.|#16: Kunsthal Gent will always be a construction site.|#35: The artist fee should be good.|#137: Use the publication as programming 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.|#29: We make the program for the artist that we exhibit.|#94: No objections? Just do it.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#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|#98: The success of it will not lie in the result but in the process.|#53: Immaterial support for artists is important.|#117: Consider design, organisational structures and architecture as programme.|#81: Things come alive when there is friction.|#6: Demand that visitors are active.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#14: Can you also remain a toddler institution?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#51: How do we invite the true unknown?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#90: The best systems have a failure or ‘a hole’ in them…|#68: Once in a while we need to get out of utopia and get something done.|#28: Make Contracts.|#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.|#16: Kunsthal Gent will always be a construction site.|#35: The artist fee should be good.|#137: Use the publication as programming 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.|#29: We make the program for the artist that we exhibit.|#94: No objections? Just do it.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#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|#98: The success of it will not lie in the result but in the process.|#53: Immaterial support for artists is important.|#117: Consider design, organisational structures and architecture as programme.|#81: Things come alive when there is friction.|#6: Demand that visitors are active.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#14: Can you also remain a toddler institution?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|
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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