#32: Be pan-gender polyphonic.|#132: Things will always look weird when you’re the first doing it.|#55: Keep basic human needs on the forefront.|#107: Build a community / scene.|#65: No excuses: Thursday morning, team meeting.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#15: Kunsthal Gent aims to be an extension of public space.|#16: Kunsthal Gent will always be a construction site.|#44: No name tags at dinner.|#26: More artists, less borders.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#105: Kunsthal Gent is local in scale, but globally connected.|#36: We support production separately.|#89: Build-in impurity within the organisation.|#124: Do less, do it better.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#92: We’re a learning organisation.|#56: Take a lunch break.|#28: Make Contracts.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#59: Always protect the floor when painting (or pouring concrete)|#17: An exhibition is never finished.|#2: Bring something new to the city of Ghent.|#54: What about disabled artists?|#35: The artist fee should be good.|#117: Consider design, organisational structures and architecture as programme.|#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.|#21: Live with the exhibition, spend time with it.|#91: Embrace doubt.|#4: Pay what you can.|#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.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#62: Don’t be a dick. Full dishwasher: empty it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#98: The success of it will not lie in the result but in the process.|#81: Things come alive when there is friction.|#14: Can you also remain a toddler institution?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#68: Once in a while we need to get out of utopia and get something done.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#90: The best systems have a failure or ‘a hole’ in them…|#84: The White Cube is a lie.|#74: Last one out turns of the lights.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#64: Arrange a distribution of forces.|#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|#29: We make the program for the artist that we exhibit.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#137: Use the publication as programming space|#10: Don’t be obsessed with numbers.|#61: No all male install teams.|#6: Demand that visitors are active.|#34: We pay artists.|#82: Clean and sterile looks professional, but really boring.|#94: No objections? Just do it.|#127: Remain practical: what happens to the work in an endless exhibition?|#30: Don’t work with artists who are assholes.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#20: Are exhibitions the most suitable form for the art that we present?|#111: Do it together.|#53: Immaterial support for artists is important.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#37: Operate with radical transparency.|#119: Be a space of production.|#99: Evolve according to changing needs.|#19: Have fun at the exhibition.|#39: Be the early stepping stone in an artist’s career|#51: How do we invite the true unknown?|#112: Spaces today don’t need to be curated, but occupied.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#40: Follow the artist|#32: Be pan-gender polyphonic.|#132: Things will always look weird when you’re the first doing it.|#55: Keep basic human needs on the forefront.|#107: Build a community / scene.|#65: No excuses: Thursday morning, team meeting.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#15: Kunsthal Gent aims to be an extension of public space.|#16: Kunsthal Gent will always be a construction site.|#44: No name tags at dinner.|#26: More artists, less borders.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#105: Kunsthal Gent is local in scale, but globally connected.|#36: We support production separately.|#89: Build-in impurity within the organisation.|#124: Do less, do it better.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#92: We’re a learning organisation.|#56: Take a lunch break.|#28: Make Contracts.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#59: Always protect the floor when painting (or pouring concrete)|#17: An exhibition is never finished.|#2: Bring something new to the city of Ghent.|#54: What about disabled artists?|#35: The artist fee should be good.|#117: Consider design, organisational structures and architecture as programme.|#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.|#21: Live with the exhibition, spend time with it.|#91: Embrace doubt.|#4: Pay what you can.|#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.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#62: Don’t be a dick. Full dishwasher: empty it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#98: The success of it will not lie in the result but in the process.|#81: Things come alive when there is friction.|#14: Can you also remain a toddler institution?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#68: Once in a while we need to get out of utopia and get something done.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#90: The best systems have a failure or ‘a hole’ in them…|#84: The White Cube is a lie.|#74: Last one out turns of the lights.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#64: Arrange a distribution of forces.|#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|#29: We make the program for the artist that we exhibit.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#137: Use the publication as programming space|#10: Don’t be obsessed with numbers.|#61: No all male install teams.|#6: Demand that visitors are active.|#34: We pay artists.|#82: Clean and sterile looks professional, but really boring.|#94: No objections? Just do it.|#127: Remain practical: what happens to the work in an endless exhibition?|#30: Don’t work with artists who are assholes.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#20: Are exhibitions the most suitable form for the art that we present?|#111: Do it together.|#53: Immaterial support for artists is important.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#37: Operate with radical transparency.|#119: Be a space of production.|#99: Evolve according to changing needs.|#19: Have fun at the exhibition.|#39: Be the early stepping stone in an artist’s career|#51: How do we invite the true unknown?|#112: Spaces today don’t need to be curated, but occupied.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#40: Follow the artist|
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24.02.2020 20:00

film screenings

Pay what you can

Art Cinema OFFoff presenteert:
Gustav Deutsch - Film Ist.

Film Ist. (Gustav Deutsch, 1998/2002)

“It is, in a word, glorious…. what I feel is the inherent power and mystery of such material, the arrangement of these images and sounds into a definition of cinema constitutes one of the greatest pedagogic films I have seen…. my main reaction is to have my socks knocked off.” (Tom Gunning)

Als eerbetoon aan Gustav Deutsch (1952-2019) selecteert Jasper Rigole Film Ist., een tableaufilm over de fenomenologie van het medium film. Deutsch begon al in de late jaren 1970 met het appropriëren en hercontextualiseren van found footage-filmmateriaal, met Film Ist. maakte hij een langspeelfilm zonder camera. Het resultaat is intrigerend, grappig en betoverend.

Gustav Deutsch - Film Ist. 1-6
AT • 1998 • 60' • kleur & z/w • 16mm

Film Ist. 1–6 (1998) is een collage van materiaal ontleend aan wetenschappelijke en educatieve films. Deze eerste zes hoofdstukken zijn opgedragen aan het wetenschappelijk laboratorium als de plek waar dit medium zijn oorsprong kende.

Gustav Deutsch - Film Ist. 7-12
AT • 2002 • 93' • kleur & z/w • 35mm

Film Ist. 7–12 (2002) focust op de eerste drie decennia uit de geschiedenis van cinema en onderzoekt het nieuwe medium film als kunstvorm eerder dan als technologische innovatie.

Filmist7 2 sized