#98: The success of it will not lie in the result but in the process.|#132: Things will always look weird when you’re the first doing it.|#62: Be kind. Full dishwasher: empty it.|#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.|#20: Are exhibitions the most suitable form for the art that we present?|#105: Kunsthal Gent is local in scale, but globally connected.|#137: Use the publication as programming space|#82: Clean and sterile looks professional, but really boring.|#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.|#28: Make Contracts.|#32: Be pan-gender polyphonic.|#112: Spaces today don’t need to be curated, but occupied.|#21: Live with the exhibition, spend time with it.|#4: Pay what you can.|#35: The artist fee should be good.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#74: Last one out turns of the lights.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#55: Keep basic human needs on the forefront.|#53: Immaterial support for artists is important.|#16: Kunsthal Gent will always be a construction site.|#127: Remain practical: what happens to the work in an endless exhibition?|#54: What about disabled artists?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#98: The success of it will not lie in the result but in the process.|#132: Things will always look weird when you’re the first doing it.|#62: Be kind. Full dishwasher: empty it.|#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.|#20: Are exhibitions the most suitable form for the art that we present?|#105: Kunsthal Gent is local in scale, but globally connected.|#137: Use the publication as programming space|#82: Clean and sterile looks professional, but really boring.|#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.|#28: Make Contracts.|#32: Be pan-gender polyphonic.|#112: Spaces today don’t need to be curated, but occupied.|#21: Live with the exhibition, spend time with it.|#4: Pay what you can.|#35: The artist fee should be good.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#74: Last one out turns of the lights.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#55: Keep basic human needs on the forefront.|#53: Immaterial support for artists is important.|#16: Kunsthal Gent will always be a construction site.|#127: Remain practical: what happens to the work in an endless exhibition?|#54: What about disabled artists?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|
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04.11.2019 20:00

film screenings

Pay what you can

Art cinema OFFoff presents:
Michael Snow + Aglaia Konrad

Wavelength, Michael Snow

—CA, 1966-67, 45’, kleur, 16mm

Concrete & Samples II: Blockhaus, Aglaia Konrad

—BE, 2009, 9’50’’, kleur, stil, videotransfer van 16mm

Wavelength is exemplarisch voor de Structural Cinema en de wijze waarop die architectuur gebruikt om de stabiliteit van het beeld en het voorbijglijden van de tijd en het licht aan te geven. Deze aspecten spelen ook een rol in Concrete & Samples van Aglaia Konrad, een reeks films over organische en brutalistische architectuur uit de jaren 1960 en 1970.

Ticket: 8 euro / 5 euro reductie

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