#20: Are exhibitions the most suitable form for the art that we present?|#30: Don’t work with artists who are assholes.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#61: No all male install teams.|#117: Consider design, organisational structures and architecture as programme.|#54: What about disabled artists?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#32: Be pan-gender polyphonic.|#94: No objections? Just do it.|#26: More artists, less borders.|#44: No name tags at dinner.|#39: Be the early stepping stone in an artist’s career|#40: Follow the artist|#36: We support production separately.|#111: Do it together.|#21: Live with the exhibition, spend time with it.|#127: Remain practical: what happens to the work in an endless exhibition?|#6: Demand that visitors are active.|#19: Have fun at the exhibition.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#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|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#112: Spaces today don’t need to be curated, but occupied.|#59: Always protect the floor when painting (or pouring concrete)|#56: Take a lunch break.|#20: Are exhibitions the most suitable form for the art that we present?|#30: Don’t work with artists who are assholes.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#61: No all male install teams.|#117: Consider design, organisational structures and architecture as programme.|#54: What about disabled artists?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#32: Be pan-gender polyphonic.|#94: No objections? Just do it.|#26: More artists, less borders.|#44: No name tags at dinner.|#39: Be the early stepping stone in an artist’s career|#40: Follow the artist|#36: We support production separately.|#111: Do it together.|#21: Live with the exhibition, spend time with it.|#127: Remain practical: what happens to the work in an endless exhibition?|#6: Demand that visitors are active.|#19: Have fun at the exhibition.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#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|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#112: Spaces today don’t need to be curated, but occupied.|#59: Always protect the floor when painting (or pouring concrete)|#56: Take a lunch break.|
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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