#14: Can you also remain a toddler institution?|#17: An exhibition is never finished.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#37: Operate with radical transparency.|#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|#15: Kunsthal Gent aims to be an extension of public space.|#132: Things will always look weird when you’re the first doing it.|#32: Be pan-gender polyphonic.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#74: Last one out turns of the lights.|#99: Evolve according to changing needs.|#21: Live with the exhibition, spend time with it.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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.|#127: Remain practical: what happens to the work in an endless exhibition?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#20: Are exhibitions the most suitable form for the art that we present?|#44: No name tags at dinner.|#26: More artists, less borders.|#105: Kunsthal Gent is local in scale, but globally connected.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#119: Be a space of production.|#29: We make the program for the artist that we exhibit.|#14: Can you also remain a toddler institution?|#17: An exhibition is never finished.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#37: Operate with radical transparency.|#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|#15: Kunsthal Gent aims to be an extension of public space.|#132: Things will always look weird when you’re the first doing it.|#32: Be pan-gender polyphonic.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#74: Last one out turns of the lights.|#99: Evolve according to changing needs.|#21: Live with the exhibition, spend time with it.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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.|#127: Remain practical: what happens to the work in an endless exhibition?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#20: Are exhibitions the most suitable form for the art that we present?|#44: No name tags at dinner.|#26: More artists, less borders.|#105: Kunsthal Gent is local in scale, but globally connected.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#119: Be a space of production.|#29: We make the program for the artist that we exhibit.|
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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