#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.|#137: Use the publication as programming space|#84: The White Cube is a lie.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#117: Consider design, organisational structures and architecture as programme.|#28: Make Contracts.|#89: Build-in impurity within the organisation.|#61: No all male install teams.|#17: An exhibition is never finished.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#124: Do less, do it better.|#82: Clean and sterile looks professional, but really boring.|#119: Be a space of production.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#44: No name tags at dinner.|#10: Don’t be obsessed with numbers.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#94: No objections? Just do it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#15: Kunsthal Gent aims to be an extension of public space.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#55: Keep basic human needs on the forefront.|#59: Always protect the floor when painting (or pouring concrete)|#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.|#137: Use the publication as programming space|#84: The White Cube is a lie.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#117: Consider design, organisational structures and architecture as programme.|#28: Make Contracts.|#89: Build-in impurity within the organisation.|#61: No all male install teams.|#17: An exhibition is never finished.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#124: Do less, do it better.|#82: Clean and sterile looks professional, but really boring.|#119: Be a space of production.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#44: No name tags at dinner.|#10: Don’t be obsessed with numbers.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#94: No objections? Just do it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#15: Kunsthal Gent aims to be an extension of public space.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#55: Keep basic human needs on the forefront.|#59: Always protect the floor when painting (or pouring concrete)|
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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)

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