#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#56: Take a lunch break.|#29: We make the program for the artist that we exhibit.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#111: Do it together.|#37: Operate with radical transparency.|#51: How do we invite the true unknown?|#91: Embrace doubt.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#20: Are exhibitions the most suitable form for the art that we present?|#59: Always protect the floor when painting (or pouring concrete)|#89: Build-in impurity within the organisation.|#2: Bring something new to the city of Ghent.|#94: No objections? Just do it.|#39: Be the early stepping stone in an artist’s career|#19: Have fun at the exhibition.|#81: Things come alive when there is friction.|#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|#74: Last one out turns of the lights.|#53: Immaterial support for artists is important.|#84: The White Cube is a lie.|#82: Clean and sterile looks professional, but really boring.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#65: No excuses: Thursday morning, team meeting.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#56: Take a lunch break.|#29: We make the program for the artist that we exhibit.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#111: Do it together.|#37: Operate with radical transparency.|#51: How do we invite the true unknown?|#91: Embrace doubt.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#20: Are exhibitions the most suitable form for the art that we present?|#59: Always protect the floor when painting (or pouring concrete)|#89: Build-in impurity within the organisation.|#2: Bring something new to the city of Ghent.|#94: No objections? Just do it.|#39: Be the early stepping stone in an artist’s career|#19: Have fun at the exhibition.|#81: Things come alive when there is friction.|#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|#74: Last one out turns of the lights.|#53: Immaterial support for artists is important.|#84: The White Cube is a lie.|#82: Clean and sterile looks professional, but really boring.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#65: No excuses: Thursday morning, team meeting.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|
Deze website maakt gebruik van cookies om uw gebruikservaring te verbeteren. Meer informatie

16.11.2018 00:00

Pay what you can

Reading (with) Abigail Child

We zijn verheugd Abigail Child te verwelkomen in ArtCinema OFFoff voor een programma van lezingen van haar experimenteel schrijven. Abigail Child is voornamelijk bekend voor haar werk als experimenteel filmmaakster. OFFoff zet zich in om de aandacht en interesse in haar oeuvre te verbreden naar haar experimenteel schrijven. Overtuigd over de relaties tussen tekst en cinema nodigen we jullie graag uit voor een avond met lezingen, van de hand van en gebracht door Abigail zelf.