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Agenda: Soon ?

→ Open Call
→ 10:00

23.04 — 16.05.25

Zomersalon:

OPEN CALL — Zomersalon: Buy Local 4

→ Open Call
→ 10:00

→ Talk
→ 11:30

Sunday 27.04.25

Heritage Day — Merel Stolker: If Stones Could Talk

→ Talk
→ 11:30

→ 019
→ Book fair
→ 11:00

03 — 04.05.25

019:

Ghent Art Book Fair

→ 019
→ Book fair
→ 11:00

→ Tot in de Stad!
→ City festival
→ 09:30

09 — 18.05.25

Tot in de Stad!:

Openbare Werken

→ Tot in de Stad!
→ City festival
→ 09:30

KHG 24 11 22 Mark Pozlep c Isaac Ponseele

→ Tot in de Stad!
→ Reflection, Food
→ 10:00

Friday 09.05.25

Tot in de Stad!:

Openbare Werken: network day — a day of kinship

→ Tot in de Stad!
→ Reflection, Food
→ 10:00

→ Tot in de Stad!
→ performance, Food
→ 18:00

Monday 12.05.25

Tot in de Stad!:

openbare werken: Breaking Bread — a new contract for Syllabus

→ Tot in de Stad!
→ performance, Food
→ 18:00

→ Tot in de Stad!
→ Party
→ 17:00

Tuesday 13.05.25

Tot in de Stad!:

openbare werken: Officiële opening

→ Tot in de Stad!
→ Party
→ 17:00

→ Tot in de Stad!
→ performance, Film
→ 20:30

Tuesday 13.05.25

Tot in de Stad!:

Openbare werken: Everything Under — Mark Požlep

→ Tot in de Stad!
→ performance, Film
→ 20:30

→ Tot in de Stad!
→ Party, Installation
→ 14:00

Wednesday 14.05.25

Tot in de Stad!:

openbare werken: The Future in Action — We Sell Reality

→ Tot in de Stad!
→ Party, Installation
→ 14:00

→ Tot in de Stad!
→ performance
→ 15:00

Wednesday 14.05.25

Tot in de Stad!:

openbare werken: What has been stored — Jimena Perez Salerno

→ Tot in de Stad!
→ performance
→ 15:00

What has been stored 4 3 ph Anna Lugmeier

→ Tot in de Stad!
→ performance, Film
→ 20:30

Wednesday 14.05.25

Tot in de Stad!:

Openbare werken: Everything Under — Mark Požlep

→ Tot in de Stad!
→ performance, Film
→ 20:30

→ Tot in de Stad!
→ performance
→ 15:00

Thursday 15.05.25

Tot in de Stad!:

openbare werken: Dining — Anna Schlooz

→ Tot in de Stad!
→ performance
→ 15:00

Anna Schlooz Tafelen Promo image c Jorien Onsia 3

→ Tot in de Stad!
→ performance
→ 17:00

Thursday 15.05.25

Tot in de Stad!:

openbare werken: These roots never blossomed — Sana Ghobbeh

→ Tot in de Stad!
→ performance
→ 17:00

→ Tot in de Stad!
→ Walk (on location), Food
→ 11:00

Friday 16.05.25

Tot in de Stad!:

openbare werken: Moeder Vooruit en haar kinderen — Jubilee

→ Tot in de Stad!
→ Walk (on location), Food
→ 11:00

→ Tot in de Stad!
→ Film, performance
→ 16:00

Friday 16.05.25

Tot in de Stad!:

openbare werken: Blueprint + City of Progress — Justin Bennett

→ Tot in de Stad!
→ Film, performance
→ 16:00

→ Tot in de Stad!
→ Party, Food
→ 20:00

Saturday 17.05.25

Tot in de Stad!:

openbare werken: Midnight Marsh — Malaika Cunningham, Jennie Moran, Zoë Laureen Palmer, James Cook

→ Tot in de Stad!
→ Party, Food
→ 20:00

Full Archive

Agenda: Archive

→ Talk
→ 20:00

Friday 25.04.25

Friday Evenings:

Merel Stolker: If Stones Could Talk

→ Talk
→ 20:00

→ 18:00

Friday 25.04.25

Zomersalon:

Zomersalon: Buy Local 4 — be(come) a volunteer!

Sluiten

→ Art Cinema OFFoff
→ Film
→ 20:00

Monday 31.03.25

Art Cinema OFFoff:

Te Gast: Robert Beavers x Eva Claus

With great honor, we welcome Robert Beavers and Eva Claus for a program around their new films, Dedication: Bernice Hodges and To Be A Day.

→ Art Cinema OFFoff
→ Film
→ 20:00

Robert Beavers is one of the most influential avant-garde filmmakers of the second half of the 20th century. Although born and raised in the United States, he has been living and making films in Europe since 1967. He regards filming as part of a complex procedure, which begins in the eyes of the filmmaker and is shaped by his gestures in relation to the camera. Beavers’s attention to the physicality of the film medium is evident also in the editing, a fully manual process that leads to a unique form of phrasing. Harry Tomicek calls it a form of“cinematic breathing,” an exchange of speech and silence, emergence and concealment.

Living and working in Brussels, Eva Claus is an audio-visual artist working primarily with 16mm film. Her practice is driven by observations of (un)expected encounters with landscapes and people, natural habitats, circularity and means of film itself. She was educated at the Friedl Kubelka School for independent film in Vienna and obtained an MA in Photography at KASK, the Royal Academy of Arts in Ghent. Her new film, To Be A Day, has been shown in Zurich and Bangkok; this is the first screening in Belgium.

Eva Claus is part of the dedicated circle of filmmakers and friends assisting Robert Beavers in the ongoing restoration of Gregory Markopoulos’ 80-hour magnum opus, Eniaios, which was fully edited but never printed during his lifetime. Since 2014, the restored cycles of Eniaios have been presented at open-air screenings at a site in Arcadia, on the Peloponnese, chosen by Markopoulos, which he called the Temenos.

The screening will be followed by a conversation with Robert Beavers and Eva Claus. Rebekah Rutkoff’s new book, Double Vision: The Cinema of Robert Beavers (2024), will be available this evening at a special discount.

Eva Claus — To Be A Day

A window to the outside world, just like the camera’s frame. Through this window, I watch the sunrise. To Be a Day captures the sun casting its light over a vast seascape on Fogo Island, Canada. Between sunrise and sunset, a series of white dots appear. These white circles reflect the moonlight, guiding fishermen as they walk across the pier to their sheds and boats in the early morning. (EC)

Robert Beavers — Early Monthly Segments

Filmed when Beavers was 18 and 19 years old, Early Month Segments is an intimate portrait of the artist and his partner, the filmmaker Gregory Markopoulos, in their Swiss apartment – a time, he recalls, when they were“protected by solitude and the spirit that came from our dedication to filmmaking.” The film would become the opening section of Beavers’s cycle My Hand Outstretched to the Winged Distance and Sightless Measure.

Early Monthly Segments 2 — Early Monthly Segments © Robert Beavers

Robert Beavers — Pitcher of Colored Light

I have filmed my mother’s house and her garden. The shadows play an essential part in the mixture of loneliness and peace that exists here. The seasons move from the garden into the house, projecting rich diagonals in the early morning or late afternoon. Each shadow is a subtle balance of stillness and movement and shows the vital instability of space. Its special quality opens a passage to the subjective. A voice within the film speaks to memory. The walls are screens through which I pass to the inhabited privacy. We experience a place through the perspective of where we come from and hear another’s voice through our own acoustic. The sense of place is never separate from the moment. (RB)

Pitcher 2n — Pitcher of Colored Light © Robert Beavers

Robert Beavers — Dedication: Bernice Hodges

I walked into Bernice Hodges’s garden when I was seven years old and asked her to read to me. She was in her mid-seventies. Out of this came an important friendship. In 1966, I tried to film her – it was perhaps the second time that I had put a roll of film in the Bolex camera, and I was very nervous; part of the time I inadvertently left the lens cap on while filming. I was so disappointed that I threw the footage away except for two short film strips. Decades later, during the making of The Sparrow Dream (2022), I re-filmed these two film strips on my editing table and objects associated with her, such as a wooden tray that she had carved. She was the first person to explain to me what an artist might be and in teaching me how to carve wood, I learned how to go with the grain or against it. (RB)