#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#68: Once in a while we need to get out of utopia and get something done.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#112: Spaces today don’t need to be curated, but occupied.|#53: Immaterial support for artists is important.|#15: Kunsthal Gent aims to be an extension of public space.|#29: We make the program for the artist that we exhibit.|#54: What about disabled artists?|#62: Be kind. Full dishwasher: empty it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#34: We pay artists.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#6: Demand that visitors are active.|#35: The artist fee should be good.|#137: Use the publication as programming space|#37: Operate with radical transparency.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#90: The best systems have a failure or ‘a hole’ in them…|#105: Kunsthal Gent is local in scale, but globally connected.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#64: Arrange a distribution of forces.|#4: Pay what you can.|#30: Don’t work with artists who are assholes.|#82: Clean and sterile looks professional, but really boring.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#68: Once in a while we need to get out of utopia and get something done.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#112: Spaces today don’t need to be curated, but occupied.|#53: Immaterial support for artists is important.|#15: Kunsthal Gent aims to be an extension of public space.|#29: We make the program for the artist that we exhibit.|#54: What about disabled artists?|#62: Be kind. Full dishwasher: empty it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#34: We pay artists.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#6: Demand that visitors are active.|#35: The artist fee should be good.|#137: Use the publication as programming space|#37: Operate with radical transparency.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#90: The best systems have a failure or ‘a hole’ in them…|#105: Kunsthal Gent is local in scale, but globally connected.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#64: Arrange a distribution of forces.|#4: Pay what you can.|#30: Don’t work with artists who are assholes.|#82: Clean and sterile looks professional, but really boring.|
Deze website maakt gebruik van cookies om uw gebruikservaring te verbeteren. Meer informatie

11.11.2019 20:00

film screenings

Pay what you can

Art cinema OFFoff presents:
The Young & the Beautiful: Guernica/Perséphone/ Les Choses Qu’On Laisse Tomber et Qui Roulent

Guernica, Robert Hessens & Alain Resnais

—FR, 1951, 13’, zwart-wit, HD digitaal

Perséphone, Luc De Heusch (als Luc Zangrie)

—BE, 1950, zwart-wit, geluid, digitaal

Pourquoi on ne laisse pas tomber: Les Choses Qu’On Laisse Tomber et Qui Roulent, La Chambre Automatique

—BE, 2018, 26’, kleur, digitaal

“Je souhaite approcher par le film la complexité de la pensée, son mécanisme interne. Dès qu'on descend dans l'inconscient, l'émotion naît. Et le cinéma ne devrait être qu'un montage d'émotions.”

- Alain Resnais

Ticket: 8 euro / 5 euro (reductie)