#92: We’re a learning organisation.|#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|#30: Don’t work with artists who are assholes.|#91: Embrace doubt.|#64: Arrange a distribution of forces.|#90: The best systems have a failure or ‘a hole’ in them…|#32: Be pan-gender polyphonic.|#14: Can you also remain a toddler institution?|#21: Live with the exhibition, spend time with it.|#17: An exhibition is never finished.|#119: Be a space of production.|#20: Are exhibitions the most suitable form for the art that we present?|#127: Remain practical: what happens to the work in an endless exhibition?|#99: Evolve according to changing needs.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#132: Things will always look weird when you’re the first doing it.|#117: Consider design, organisational structures and architecture as programme.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#15: Kunsthal Gent aims to be an extension of public space.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#62: Don’t be a dick. Full dishwasher: empty it.|#105: Kunsthal Gent is local in scale, but globally connected.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#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.|#36: We support production separately.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#59: Always protect the floor when painting (or pouring concrete)|#35: The artist fee should be good.|#10: Don’t be obsessed with numbers.|#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.|#55: Keep basic human needs on the forefront.|#54: What about disabled artists?|#84: The White Cube is a lie.|#89: Build-in impurity within the organisation.|#65: No excuses: Thursday morning, team meeting.|#61: No all male install teams.|#39: Be the early stepping stone in an artist’s career|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#44: No name tags at dinner.|#19: Have fun at the exhibition.|#28: Make Contracts.|#37: Operate with radical transparency.|#124: Do less, do it better.|#53: Immaterial support for artists is important.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#74: Last one out turns of the lights.|#137: Use the publication as programming space|#4: Pay what you can.|#112: Spaces today don’t need to be curated, but occupied.|#111: Do it together.|#56: Take a lunch break.|#29: We make the program for the artist that we exhibit.|#82: Clean and sterile looks professional, but really boring.|#81: Things come alive when there is friction.|#51: How do we invite the true unknown?|#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.|#40: Follow the artist|#34: We pay artists.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#98: The success of it will not lie in the result but in the process.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#26: More artists, less borders.|#6: Demand that visitors are active.|#107: Build a community / scene.|#68: Once in a while we need to get out of utopia and get something done.|#2: Bring something new to the city of Ghent.|#16: Kunsthal Gent will always be a construction site.|#94: No objections? Just do it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#92: We’re a learning organisation.|#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|#30: Don’t work with artists who are assholes.|#91: Embrace doubt.|#64: Arrange a distribution of forces.|#90: The best systems have a failure or ‘a hole’ in them…|#32: Be pan-gender polyphonic.|#14: Can you also remain a toddler institution?|#21: Live with the exhibition, spend time with it.|#17: An exhibition is never finished.|#119: Be a space of production.|#20: Are exhibitions the most suitable form for the art that we present?|#127: Remain practical: what happens to the work in an endless exhibition?|#99: Evolve according to changing needs.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#132: Things will always look weird when you’re the first doing it.|#117: Consider design, organisational structures and architecture as programme.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#15: Kunsthal Gent aims to be an extension of public space.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#62: Don’t be a dick. Full dishwasher: empty it.|#105: Kunsthal Gent is local in scale, but globally connected.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#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.|#36: We support production separately.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#59: Always protect the floor when painting (or pouring concrete)|#35: The artist fee should be good.|#10: Don’t be obsessed with numbers.|#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.|#55: Keep basic human needs on the forefront.|#54: What about disabled artists?|#84: The White Cube is a lie.|#89: Build-in impurity within the organisation.|#65: No excuses: Thursday morning, team meeting.|#61: No all male install teams.|#39: Be the early stepping stone in an artist’s career|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#44: No name tags at dinner.|#19: Have fun at the exhibition.|#28: Make Contracts.|#37: Operate with radical transparency.|#124: Do less, do it better.|#53: Immaterial support for artists is important.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#74: Last one out turns of the lights.|#137: Use the publication as programming space|#4: Pay what you can.|#112: Spaces today don’t need to be curated, but occupied.|#111: Do it together.|#56: Take a lunch break.|#29: We make the program for the artist that we exhibit.|#82: Clean and sterile looks professional, but really boring.|#81: Things come alive when there is friction.|#51: How do we invite the true unknown?|#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.|#40: Follow the artist|#34: We pay artists.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#98: The success of it will not lie in the result but in the process.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#26: More artists, less borders.|#6: Demand that visitors are active.|#107: Build a community / scene.|#68: Once in a while we need to get out of utopia and get something done.|#2: Bring something new to the city of Ghent.|#16: Kunsthal Gent will always be a construction site.|#94: No objections? Just do it.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|
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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