#35: The artist fee should be good.|#107: Build a community / scene.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#21: Live with the exhibition, spend time with it.|#137: Use the publication as programming space|#14: Can you also remain a toddler institution?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#91: Embrace doubt.|#94: No objections? Just do it.|#92: We’re a learning organisation.|#55: Keep basic human needs on the forefront.|#81: Things come alive when there is friction.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#65: No excuses: Thursday morning, team meeting.|#56: Take a lunch break.|#64: Arrange a distribution of forces.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#105: Kunsthal Gent is local in scale, but globally connected.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#89: Build-in impurity within the organisation.|#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.|#90: The best systems have a failure or ‘a hole’ in them…|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#59: Always protect the floor when painting (or pouring concrete)|#35: The artist fee should be good.|#107: Build a community / scene.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#21: Live with the exhibition, spend time with it.|#137: Use the publication as programming space|#14: Can you also remain a toddler institution?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#91: Embrace doubt.|#94: No objections? Just do it.|#92: We’re a learning organisation.|#55: Keep basic human needs on the forefront.|#81: Things come alive when there is friction.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#65: No excuses: Thursday morning, team meeting.|#56: Take a lunch break.|#64: Arrange a distribution of forces.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#105: Kunsthal Gent is local in scale, but globally connected.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#89: Build-in impurity within the organisation.|#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.|#90: The best systems have a failure or ‘a hole’ in them…|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#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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