#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#14: Can you also remain a toddler institution?|#82: Clean and sterile looks professional, but really boring.|#53: Immaterial support for artists is important.|#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.|#89: Build-in impurity within the organisation.|#32: Be pan-gender polyphonic.|#30: Don’t work with artists who are assholes.|#105: Kunsthal Gent is local in scale, but globally connected.|#94: No objections? Just do it.|#81: Things come alive when there is friction.|#39: Be the early stepping stone in an artist’s career|#35: The artist fee should be good.|#36: We support production separately.|#132: Things will always look weird when you’re the first doing it.|#68: Once in a while we need to get out of utopia and get something done.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#84: The White Cube is a lie.|#37: Operate with radical transparency.|#10: Don’t be obsessed with numbers.|#124: Do less, do it better.|#17: An exhibition is never finished.|#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.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#14: Can you also remain a toddler institution?|#82: Clean and sterile looks professional, but really boring.|#53: Immaterial support for artists is important.|#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.|#89: Build-in impurity within the organisation.|#32: Be pan-gender polyphonic.|#30: Don’t work with artists who are assholes.|#105: Kunsthal Gent is local in scale, but globally connected.|#94: No objections? Just do it.|#81: Things come alive when there is friction.|#39: Be the early stepping stone in an artist’s career|#35: The artist fee should be good.|#36: We support production separately.|#132: Things will always look weird when you’re the first doing it.|#68: Once in a while we need to get out of utopia and get something done.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#84: The White Cube is a lie.|#37: Operate with radical transparency.|#10: Don’t be obsessed with numbers.|#124: Do less, do it better.|#17: An exhibition is never finished.|#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.|
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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