#132: Things will always look weird when you’re the first doing it.|#127: Remain practical: what happens to the work in an endless exhibition?|#119: Be a space of production.|#19: Have fun at the exhibition.|#54: What about disabled artists?|#111: Do it together.|#36: We support production separately.|#81: Things come alive when there is friction.|#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|#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.|#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.|#16: Kunsthal Gent will always be a construction site.|#53: Immaterial support for artists is important.|#55: Keep basic human needs on the forefront.|#26: More artists, less borders.|#137: Use the publication as programming space|#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.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#91: Embrace doubt.|#105: Kunsthal Gent is local in scale, but globally connected.|#82: Clean and sterile looks professional, but really boring.|#117: Consider design, organisational structures and architecture as programme.|#68: Once in a while we need to get out of utopia and get something done.|#32: Be pan-gender polyphonic.|#132: Things will always look weird when you’re the first doing it.|#127: Remain practical: what happens to the work in an endless exhibition?|#119: Be a space of production.|#19: Have fun at the exhibition.|#54: What about disabled artists?|#111: Do it together.|#36: We support production separately.|#81: Things come alive when there is friction.|#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|#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.|#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.|#16: Kunsthal Gent will always be a construction site.|#53: Immaterial support for artists is important.|#55: Keep basic human needs on the forefront.|#26: More artists, less borders.|#137: Use the publication as programming space|#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.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#91: Embrace doubt.|#105: Kunsthal Gent is local in scale, but globally connected.|#82: Clean and sterile looks professional, but really boring.|#117: Consider design, organisational structures and architecture as programme.|#68: Once in a while we need to get out of utopia and get something done.|#32: Be pan-gender polyphonic.|
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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)