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