#82: Clean and sterile looks professional, but really boring.|#91: Embrace doubt.|#54: What about disabled artists?|#15: Kunsthal Gent aims to be an extension of public space.|#17: An exhibition is never finished.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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.|#59: Always protect the floor when painting (or pouring concrete)|#98: The success of it will not lie in the result but in the process.|#30: Don’t work with artists who are assholes.|#32: Be pan-gender polyphonic.|#132: Things will always look weird when you’re the first doing it.|#21: Live with the exhibition, spend time with it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#40: Follow the artist|#29: We make the program for the artist that we exhibit.|#124: Do less, do it better.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#107: Build a community / scene.|#94: No objections? Just do it.|#137: Use the publication as programming space|#64: Arrange a distribution of forces.|#92: We’re a learning organisation.|#105: Kunsthal Gent is local in scale, but globally connected.|#37: Operate with radical transparency.|#82: Clean and sterile looks professional, but really boring.|#91: Embrace doubt.|#54: What about disabled artists?|#15: Kunsthal Gent aims to be an extension of public space.|#17: An exhibition is never finished.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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.|#59: Always protect the floor when painting (or pouring concrete)|#98: The success of it will not lie in the result but in the process.|#30: Don’t work with artists who are assholes.|#32: Be pan-gender polyphonic.|#132: Things will always look weird when you’re the first doing it.|#21: Live with the exhibition, spend time with it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#40: Follow the artist|#29: We make the program for the artist that we exhibit.|#124: Do less, do it better.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#107: Build a community / scene.|#94: No objections? Just do it.|#137: Use the publication as programming space|#64: Arrange a distribution of forces.|#92: We’re a learning organisation.|#105: Kunsthal Gent is local in scale, but globally connected.|#37: Operate with radical transparency.|
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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