#94: No objections? Just do it.|#119: Be a space of production.|#34: We pay artists.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#92: We’re a learning organisation.|#112: Spaces today don’t need to be curated, but occupied.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#35: The artist fee should be good.|#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.|#30: Don’t work with artists who are assholes.|#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|#28: Make Contracts.|#91: Embrace doubt.|#14: Can you also remain a toddler institution?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#127: Remain practical: what happens to the work in an endless exhibition?|#117: Consider design, organisational structures and architecture as programme.|#21: Live with the exhibition, spend time with it.|#37: Operate with radical transparency.|#124: Do less, do it better.|#89: Build-in impurity within the organisation.|#90: The best systems have a failure or ‘a hole’ in them…|#10: Don’t be obsessed with numbers.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#94: No objections? Just do it.|#119: Be a space of production.|#34: We pay artists.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#92: We’re a learning organisation.|#112: Spaces today don’t need to be curated, but occupied.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#35: The artist fee should be good.|#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.|#30: Don’t work with artists who are assholes.|#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|#28: Make Contracts.|#91: Embrace doubt.|#14: Can you also remain a toddler institution?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#127: Remain practical: what happens to the work in an endless exhibition?|#117: Consider design, organisational structures and architecture as programme.|#21: Live with the exhibition, spend time with it.|#37: Operate with radical transparency.|#124: Do less, do it better.|#89: Build-in impurity within the organisation.|#90: The best systems have a failure or ‘a hole’ in them…|#10: Don’t be obsessed with numbers.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|
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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)