#4: Pay what you can.|#117: Consider design, organisational structures and architecture as programme.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#105: Kunsthal Gent is local in scale, but globally connected.|#124: Do less, do it better.|#68: Once in a while we need to get out of utopia and get something done.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#56: Take a lunch break.|#29: We make the program for the artist that we exhibit.|#20: Are exhibitions the most suitable form for the art that we present?|#2: Bring something new to the city of Ghent.|#35: The artist fee should be good.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#21: Live with the exhibition, spend time with it.|#54: What about disabled artists?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#6: Demand that visitors are active.|#40: Follow the artist|#81: Things come alive when there is friction.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#14: Can you also remain a toddler institution?|#61: No all male install teams.|#82: Clean and sterile looks professional, but really boring.|#90: The best systems have a failure or ‘a hole’ in them…|#107: Build a community / scene.|#4: Pay what you can.|#117: Consider design, organisational structures and architecture as programme.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#105: Kunsthal Gent is local in scale, but globally connected.|#124: Do less, do it better.|#68: Once in a while we need to get out of utopia and get something done.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#56: Take a lunch break.|#29: We make the program for the artist that we exhibit.|#20: Are exhibitions the most suitable form for the art that we present?|#2: Bring something new to the city of Ghent.|#35: The artist fee should be good.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#21: Live with the exhibition, spend time with it.|#54: What about disabled artists?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#6: Demand that visitors are active.|#40: Follow the artist|#81: Things come alive when there is friction.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#14: Can you also remain a toddler institution?|#61: No all male install teams.|#82: Clean and sterile looks professional, but really boring.|#90: The best systems have a failure or ‘a hole’ in them…|#107: Build a community / scene.|
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05.10.2020 20:00

film screenings

Pay what you can

Art Cinema OFFoff presenteert:
The Young and the Beautiful - Eva Beazar + Marie Menken

Maandag 05.10, 20:00
The Young and the Beautiful: Marie Menken + Eva Beazar
Reserveren: https://offoff.be/

Marie Menken

Glimpse of the Garden

US • 1957 • 4' • kleur • 16mm

Arabesque for Kenneth Anger
US • 1961 • 4' • kleur • 16mm

Go Go Go
US • 1962-1964 • 11' • kleur • 16mm

Marie Menken (1910-1970) is de stille heldin van de Amerikaanse avant-garde, tegelijk mentor en muze voor experimentele filmmakers als Kenneth Anger, Stan Brakhage en Jonas Mekas. Naast schilderijen en collages creëerde Menken talloze experimentele kortfilms met haar 16mm Bolex camera. Met haar ritmische visuele gedichten is ze ook een belangrijke inspiratiebron voor de jonge filmmaker Eva Beazar: “Het is alsof je naar bewegend schilderij kijkt. Marie Menken benadert onderwerpen gevoelsmatig en spontaan, met een poëtische blik. Ze heeft een heel eigen manier van denken, kijken en creëren. Haar films zijn onbeschrijflijk mooi: het kleurenspectrum, de tactiliteit, het wisselende ritme. Daar hou ik van!”


Eva Beazar


On a Hot Summer Day in November

BE • 2018 • 22' • z/w • digitaal

Shall We Dance on the Moon

BE • 2019 • 21' • z/w • digitaal

Eva Beazar: “Ik ben geïnspireerd door dromen, fantasie, kleine bewegingen, chaos, wat je ervaart, het onbewuste. In On a Hot Summer Day In November tracht ik een spanning weer te geven tussen het mogelijke en het onmogelijke, tussen een droomwereld en wat je in de wereld hebt ontdekt. In Shall We Dance on the Moon gaat het me meer om tijdsbeleving en herinnering. De film toont een fictieve wereld vanuit het oogpunt van een kind, met bizarre figuren en vreemde decors. De tijd tikt traag, lijkt soms stil te staan, en spoelt dan weer verder.”

2 Marie Menken Glimpse of the Garden Light Cone