#64: Arrange a distribution of forces.|#112: Spaces today don’t need to be curated, but occupied.|#55: Keep basic human needs on the forefront.|#92: We’re a learning organisation.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#51: How do we invite the true unknown?|#32: Be pan-gender polyphonic.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#90: The best systems have a failure or ‘a hole’ in them…|#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|#16: Kunsthal Gent will always be a construction site.|#4: Pay what you can.|#39: Be the early stepping stone in an artist’s career|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#20: Are exhibitions the most suitable form for the art that we present?|#98: The success of it will not lie in the result but in the process.|#34: We pay artists.|#94: No objections? Just do it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#89: Build-in impurity within the organisation.|#64: Arrange a distribution of forces.|#112: Spaces today don’t need to be curated, but occupied.|#55: Keep basic human needs on the forefront.|#92: We’re a learning organisation.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#51: How do we invite the true unknown?|#32: Be pan-gender polyphonic.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#90: The best systems have a failure or ‘a hole’ in them…|#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|#16: Kunsthal Gent will always be a construction site.|#4: Pay what you can.|#39: Be the early stepping stone in an artist’s career|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#20: Are exhibitions the most suitable form for the art that we present?|#98: The success of it will not lie in the result but in the process.|#34: We pay artists.|#94: No objections? Just do it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#89: Build-in impurity within the organisation.|
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24.02.2020 20:00

film srceenings

Pay what you can

Art Cinema OFFoff presents:
Gustav Deutsch - Film Ist.

Film Ist. (Gustav Deutsch, 1998/2002)

“It is, in a word, glorious.... what I feel is the inherent power and mystery of such material, the arrangement of these images and sounds into a definition of cinema constitutes one of the greatest pedagogic films I have seen.... my main reaction is to have my socks knocked off.” (Tom Gunning)

As homage to Gustav Deutsch (1952-2019) Jasper Rigole selects Film Ist., a tableau film on the phenomenology of the medium of film. Deutsch started appropriating and re-contextualising found footage in the late 1970s. Film Ist. is a feature film made without a camera. It is a collage, which combines archaic film material from the margins of the history of cinema, collected from the archives of several film institutes. The result is exhilarating, intriguing, funny and beautiful.

Gustav Deutsch - Film Ist. 1-6
AT • 1998 • 60' • colour / black and white • 16mm

Film Ist. 1–6 (1998) is a collage of scientific and pedagogic films. These first six chapters are
dedicated to the scientific laboratory as the site from which film originated.


Gustav Deutsch - Film Ist. 7-12

AT • 2002 • 93' • colour / black and white • 35mm

Film Ist. 7–12 (2002) focuses on the first three decades of cinema, exploring this newmedium as an art form, and less as a technological innovation.

Filmist7 2 sized