#51: How do we invite the true unknown?|#35: The artist fee should be good.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#17: An exhibition is never finished.|#124: Do less, do it better.|#29: We make the program for the artist that we exhibit.|#30: Don’t work with artists who are assholes.|#89: Build-in impurity within the organisation.|#54: What about disabled artists?|#32: Be pan-gender polyphonic.|#26: More artists, less borders.|#84: The White Cube is a lie.|#62: Be kind. Full dishwasher: empty it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#34: We pay artists.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#37: Operate with radical transparency.|#137: Use the publication as programming space|#127: Remain practical: what happens to the work in an endless exhibition?|#68: Once in a while we need to get out of utopia and get something done.|#14: Can you also remain a toddler institution?|#55: Keep basic human needs on the forefront.|#105: Kunsthal Gent is local in scale, but globally connected.|#10: Don’t be obsessed with numbers.|#51: How do we invite the true unknown?|#35: The artist fee should be good.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#17: An exhibition is never finished.|#124: Do less, do it better.|#29: We make the program for the artist that we exhibit.|#30: Don’t work with artists who are assholes.|#89: Build-in impurity within the organisation.|#54: What about disabled artists?|#32: Be pan-gender polyphonic.|#26: More artists, less borders.|#84: The White Cube is a lie.|#62: Be kind. Full dishwasher: empty it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#34: We pay artists.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#37: Operate with radical transparency.|#137: Use the publication as programming space|#127: Remain practical: what happens to the work in an endless exhibition?|#68: Once in a while we need to get out of utopia and get something done.|#14: Can you also remain a toddler institution?|#55: Keep basic human needs on the forefront.|#105: Kunsthal Gent is local in scale, but globally connected.|#10: Don’t be obsessed with numbers.|
Deze website maakt gebruik van cookies om uw gebruikservaring te verbeteren. Meer informatie

17.02.2020 20:00

film screenings

Pay what you can

art cinema OFFoff presenteert:
Jasper Rigole – Home Movies

Kunstenaar en filmmaker Jasper Rigole verzamelt amateurfilms, reisverslagen en familiedocumenten in het IICADOM-archief (The International Institute for the Conservation, Archiving and Distribution of Other People’s Memories). OFFoff toont twee van Rigole’s single screen films gemaakt met dergelijk archiefmateriaal.


Jasper Rigole - Paradise Recollected

BE • 2008 • 33' • kleur • 16mm

Paradise Recollected is een poëtische studie van op rommelmarkten gevonden amateurfilms die de opbloeiende vrijetijdscultuur van de jaren 1960 portretteren, met dank aan de gelijktijdige opkomst van goedkope Super 8 camera’s. Doorheen de samensmelting van een ironische mockumentary en een cine-essay verdiept de film zich in het creatieproces, de typische ingrediënten en de visuele taal van home movies.

Jasper Rigole - Temps Mort
BE • 2010 • 20' • kleur • 16mm

Temps Mort is één van de categorieën van het IICADOM, gebruikt om het beeldmateriaal dat zich op het einde van de filmrol bevond te archiveren. Deze beelden resulteerden uit de noodzaak van de amateur-filmmaker om het rolletje op te gebruiken vooraleer het ontwikkeld kon worden. In hun poging om de tijd te doden, tonen deze fragmenten geen unieke en uitverkoren momenten, maar banale, dagdagelijkse scènes.

Jasper Rigole