#36: We support production separately.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#44: No name tags at dinner.|#19: Have fun at the exhibition.|#6: Demand that visitors are active.|#54: What about disabled artists?|#89: Build-in impurity within the organisation.|#59: Always protect the floor when painting (or pouring concrete)|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#34: We pay artists.|#94: No objections? Just do it.|#84: The White Cube is a lie.|#132: Things will always look weird when you’re the first doing it.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#112: Spaces today don’t need to be curated, but occupied.|#37: Operate with radical transparency.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#119: Be a space of production.|#92: We’re a learning organisation.|#4: Pay what you can.|#2: Bring something new to the city of Ghent.|#74: Last one out turns of the lights.|#10: Don’t be obsessed with numbers.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#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.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#44: No name tags at dinner.|#19: Have fun at the exhibition.|#6: Demand that visitors are active.|#54: What about disabled artists?|#89: Build-in impurity within the organisation.|#59: Always protect the floor when painting (or pouring concrete)|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#34: We pay artists.|#94: No objections? Just do it.|#84: The White Cube is a lie.|#132: Things will always look weird when you’re the first doing it.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#112: Spaces today don’t need to be curated, but occupied.|#37: Operate with radical transparency.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#119: Be a space of production.|#92: We’re a learning organisation.|#4: Pay what you can.|#2: Bring something new to the city of Ghent.|#74: Last one out turns of the lights.|#10: Don’t be obsessed with numbers.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#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|
This website uses cookies to improve your user experience. More info

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