#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#16: Kunsthal Gent will always be a construction site.|#20: Are exhibitions the most suitable form for the art that we present?|#112: Spaces today don’t need to be curated, but occupied.|#65: No excuses: Thursday morning, team meeting.|#10: Don’t be obsessed with numbers.|#51: How do we invite the true unknown?|#39: Be the early stepping stone in an artist’s career|#21: Live with the exhibition, spend time with it.|#119: Be a space of production.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#34: We pay artists.|#37: Operate with radical transparency.|#64: Arrange a distribution of forces.|#59: Always protect the floor when painting (or pouring concrete)|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#107: Build a community / scene.|#132: Things will always look weird when you’re the first doing it.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#19: Have fun at the exhibition.|#82: Clean and sterile looks professional, but really boring.|#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|#40: Follow the artist|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#16: Kunsthal Gent will always be a construction site.|#20: Are exhibitions the most suitable form for the art that we present?|#112: Spaces today don’t need to be curated, but occupied.|#65: No excuses: Thursday morning, team meeting.|#10: Don’t be obsessed with numbers.|#51: How do we invite the true unknown?|#39: Be the early stepping stone in an artist’s career|#21: Live with the exhibition, spend time with it.|#119: Be a space of production.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#34: We pay artists.|#37: Operate with radical transparency.|#64: Arrange a distribution of forces.|#59: Always protect the floor when painting (or pouring concrete)|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#107: Build a community / scene.|#132: Things will always look weird when you’re the first doing it.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#19: Have fun at the exhibition.|#82: Clean and sterile looks professional, but really boring.|#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|#40: Follow the artist|
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.