#14: Can you also remain a toddler institution?|#124: Do less, do it better.|#30: Don’t work with artists who are assholes.|#81: Things come alive when there is friction.|#35: The artist fee should be good.|#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.|#127: Remain practical: what happens to the work in an endless exhibition?|#137: Use the publication as programming space|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#89: Build-in impurity within the organisation.|#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|#40: Follow the artist|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#55: Keep basic human needs on the forefront.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#61: No all male install teams.|#28: Make Contracts.|#94: No objections? Just do it.|#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.|#44: No name tags at dinner.|#20: Are exhibitions the most suitable form for the art that we present?|#91: Embrace doubt.|#54: What about disabled artists?|#14: Can you also remain a toddler institution?|#124: Do less, do it better.|#30: Don’t work with artists who are assholes.|#81: Things come alive when there is friction.|#35: The artist fee should be good.|#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.|#127: Remain practical: what happens to the work in an endless exhibition?|#137: Use the publication as programming space|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#89: Build-in impurity within the organisation.|#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|#40: Follow the artist|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#55: Keep basic human needs on the forefront.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#61: No all male install teams.|#28: Make Contracts.|#94: No objections? Just do it.|#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.|#44: No name tags at dinner.|#20: Are exhibitions the most suitable form for the art that we present?|#91: Embrace doubt.|#54: What about disabled artists?|
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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