#117: Consider design, organisational structures and architecture as programme.|#28: Make Contracts.|#2: Bring something new to the city of Ghent.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#74: Last one out turns of the lights.|#98: The success of it will not lie in the result but in the process.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#34: We pay artists.|#105: Kunsthal Gent is local in scale, but globally connected.|#6: Demand that visitors are active.|#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|#36: We support production separately.|#59: Always protect the floor when painting (or pouring concrete)|#82: Clean and sterile looks professional, but really boring.|#124: Do less, do it better.|#64: Arrange a distribution of forces.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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.|#89: Build-in impurity within the organisation.|#40: Follow the artist|#15: Kunsthal Gent aims to be an extension of public space.|#112: Spaces today don’t need to be curated, but occupied.|#29: We make the program for the artist that we exhibit.|#117: Consider design, organisational structures and architecture as programme.|#28: Make Contracts.|#2: Bring something new to the city of Ghent.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#74: Last one out turns of the lights.|#98: The success of it will not lie in the result but in the process.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#34: We pay artists.|#105: Kunsthal Gent is local in scale, but globally connected.|#6: Demand that visitors are active.|#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|#36: We support production separately.|#59: Always protect the floor when painting (or pouring concrete)|#82: Clean and sterile looks professional, but really boring.|#124: Do less, do it better.|#64: Arrange a distribution of forces.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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.|#89: Build-in impurity within the organisation.|#40: Follow the artist|#15: Kunsthal Gent aims to be an extension of public space.|#112: Spaces today don’t need to be curated, but occupied.|#29: We make the program for the artist that we exhibit.|
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07.10.2019 20:00

film screenings

Pay what you can

Art cinema OFFoff presents:
Agnes Martin double bill

Agnes Martin

Gabriel

US • 1976 • 78' • kleur • digitaal • en gespr



Mary Lance

Agnes Martin: With My Back To the World

US • 2003 • 56' • kleur • stil • digitaal • en gespr

‘I thought my movie was going to be about happiness, but when I saw it finished, it turned out to be about joy – the same things my paintings are about.’ – Agnes Martin

Gabriel is the only completed and rarely shown film by the renowned American painter Agnes Martin. In this contemplative and fragmentary study of the landscape, Martin follows the wanderings of a ten-year-old boy in the countryside of New Mexico, near where she lived and worked.

Mary Lance’s documentary on Agnes Martin was shot from 1998 through 2002, the year she turned 90. Interviews with Martin are intercut with shots of her studio in Taos, photographs, archival footage, and images of her paintings. She speaks about her work, her working methods, her life as an artist, and her views on the creative process. She also reads from her poetry. In keeping with her chosen life of solitude, she alone appears in the film.

Program: Sven Dehens & Isolde Vanhee
Tickets: €8 / €5 (reduction)

https://offoff.be/en/events/agnes-martin-double-bill/

AM 5 New Deal Films 2b 768x589