#53: Immaterial support for artists is important.|#16: Kunsthal Gent will always be a construction site.|#132: Things will always look weird when you’re the first doing it.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#59: Always protect the floor when painting (or pouring concrete)|#111: Do it together.|#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.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#127: Remain practical: what happens to the work in an endless exhibition?|#2: Bring something new to the city of Ghent.|#44: No name tags at dinner.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#84: The White Cube is a lie.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#117: Consider design, organisational structures and architecture as programme.|#107: Build a community / scene.|#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.|#65: No excuses: Thursday morning, team meeting.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#74: Last one out turns of the lights.|#39: Be the early stepping stone in an artist’s career|#35: The artist fee should be good.|#6: Demand that visitors are active.|#56: Take a lunch break.|#53: Immaterial support for artists is important.|#16: Kunsthal Gent will always be a construction site.|#132: Things will always look weird when you’re the first doing it.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#59: Always protect the floor when painting (or pouring concrete)|#111: Do it together.|#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.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#127: Remain practical: what happens to the work in an endless exhibition?|#2: Bring something new to the city of Ghent.|#44: No name tags at dinner.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#84: The White Cube is a lie.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#117: Consider design, organisational structures and architecture as programme.|#107: Build a community / scene.|#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.|#65: No excuses: Thursday morning, team meeting.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#74: Last one out turns of the lights.|#39: Be the early stepping stone in an artist’s career|#35: The artist fee should be good.|#6: Demand that visitors are active.|#56: Take a lunch break.|
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27.02.2023 20:00

Art Cinema OFFoff

Price: € 8

100 jaar 16mm-film: Ciné-concert Jonas Cambien, Adrian Myhr & Xavier Quérel

On January 8, 1923, the new 16mm film format was first demonstrated to the public in Rochester, New York. Half the width of the classic 35mm filmstrip, this smaller, cheaper and handier tool played an essential and liberating role in the development of independent or experimental filmmaking, and hugely encouraged the circulation of films in a field outside the theatrical cinema circuit.

Along with the start of a new film season, we celebrate the 100th anniversary of our beloved and most-used format by turning the film projector on the audience for once in a unique 16mm performance in dialogue with improvised, electronic live music!

Belgian piano player Jonas Cambien and Norwegian bass player Adrian Myhr have been playing together for years. As a duo they released the album Simiskina on the Portuguese label Clean Feed in 2018 to critical acclaim. Whereas this release is entirely acoustic with prepared piano and double bass, Cambien and Myhr now mostly play their music on synthesizers and electric bass, and teamed up with the French experimental filmmaker and visual artist Xavier Quérel, known from the audiovisual noise collective La Cellule d’Intervention Metamkine.

Quérel is included as a sort of third musician, working with images instead of sound. Standing on stage between the musicians, with a 16mm film projector facing the audience, Quérel uses hands-on methods that allow him to improvise with the spontanity of a musician, creating cinematic visuals that are a 100% analogue, without computers or digital beamers involved, in an intimate dialogue with the music.

Adrian Myhr: electric bass and effects
Jonas Cambien: analog synthesizers
Xavier Quérel: 16mm film projector and light

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