#62: Be kind. Full dishwasher: empty it.|#111: Do it together.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#89: Build-in impurity within the organisation.|#137: Use the publication as programming space|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#30: Don’t work with artists who are assholes.|#117: Consider design, organisational structures and architecture as programme.|#64: Arrange a distribution of forces.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#94: No objections? Just do it.|#54: What about disabled artists?|#2: Bring something new to the city of Ghent.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#55: Keep basic human needs on the forefront.|#53: Immaterial support for artists is important.|#119: Be a space of production.|#32: Be pan-gender polyphonic.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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.|#105: Kunsthal Gent is local in scale, but globally connected.|#68: Once in a while we need to get out of utopia and get something done.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#20: Are exhibitions the most suitable form for the art that we present?|#62: Be kind. Full dishwasher: empty it.|#111: Do it together.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#89: Build-in impurity within the organisation.|#137: Use the publication as programming space|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#30: Don’t work with artists who are assholes.|#117: Consider design, organisational structures and architecture as programme.|#64: Arrange a distribution of forces.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#94: No objections? Just do it.|#54: What about disabled artists?|#2: Bring something new to the city of Ghent.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#55: Keep basic human needs on the forefront.|#53: Immaterial support for artists is important.|#119: Be a space of production.|#32: Be pan-gender polyphonic.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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.|#105: Kunsthal Gent is local in scale, but globally connected.|#68: Once in a while we need to get out of utopia and get something done.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#20: Are exhibitions the most suitable form for the art that we present?|
Deze website maakt gebruik van cookies om uw gebruikservaring te verbeteren. Meer informatie

09.12.2019 20:00

film screenings

Pay what you can

Art cinema OFFoff presents:
Te gast: Nazli Dinçel

Between Relating and Use

—US/AR, 2018, 9’, kleur, 16mm

Shape of a Surface

—TR, 2017, 9’, kleur, 16mm

Solitary Acts (4,5,6)

—US/TR, 2015, 23’ kleur, 16mm

Untitled

—US, 2016, 12’, kleur, digitaal

Instructions on How to Make a Film

—CA/VS, 2018, 13’, zwart-wit, 16mm

Nazlı Dinçels 16mm-films zijn geheel met de hand gemaakt. Zo krabt, typt, naait en stempelt ze letters op het beeld. Deze fysieke handelingen houden verband met traditionele vrouwentaken in haar Turkse opvoeding, zoals koken of tapijtweven. Haar vaak pijnlijke, gênante en seksueel geladen jeugdherinneringen duwt ze daarbij letterlijk en figuurlijk in haar films. Tekst wordt beeld, het beeld wordt lichaam.

Tickets: 8 euro /5 euro (reductie)

C568df 64cc596cb5c94412a829d85a3a506154mv2 d 3956 2728 s 4 2