#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#37: Operate with radical transparency.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#91: Embrace doubt.|#54: What about disabled artists?|#6: Demand that visitors are active.|#84: The White Cube is a lie.|#56: Take a lunch break.|#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.|#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.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#127: Remain practical: what happens to the work in an endless exhibition?|#30: Don’t work with artists who are assholes.|#74: Last one out turns of the lights.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#51: How do we invite the true unknown?|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#111: Do it together.|#99: Evolve according to changing needs.|#90: The best systems have a failure or ‘a hole’ in them…|#2: Bring something new to the city of Ghent.|#117: Consider design, organisational structures and architecture as programme.|#17: An exhibition is never finished.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#37: Operate with radical transparency.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#91: Embrace doubt.|#54: What about disabled artists?|#6: Demand that visitors are active.|#84: The White Cube is a lie.|#56: Take a lunch break.|#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.|#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.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#127: Remain practical: what happens to the work in an endless exhibition?|#30: Don’t work with artists who are assholes.|#74: Last one out turns of the lights.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#51: How do we invite the true unknown?|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#111: Do it together.|#99: Evolve according to changing needs.|#90: The best systems have a failure or ‘a hole’ in them…|#2: Bring something new to the city of Ghent.|#117: Consider design, organisational structures and architecture as programme.|#17: An exhibition is never finished.|
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17.02.2020 20:00

film screenings

Pay what you can

art cinema OFFoff presents:
Jasper Rigole – Home Movies

Artist and filmmaker Jasper Rigole collects amateur films, travelogues and family documents at the IICADOM archive (The International Institute for the Conservation, Archiving and Distribution of Other People’s Memories). OFFoff will screen two of his single screen films made of such archival footage.


Jasper Rigole - Paradise Recollected
BE • 2008 • 33' • colour • 16mm

As a blend of ironic mockumentary and filmic essay, Paradise Recollected delves into the motives behind the making of home movies as well as the elements that characterise their visual content. The film is a poetic study of home movies as a kind of portrayal of the leisure culture that arose parallel with the advent of the inexpensive Super 8 cameras in the 1960s.


Jasper Rigole - Temps Mort
BE • 2010 • 20' • colour • 16mm

Temps Mort is one of IICADOM’s categories used to designate the archival material collected from the end of the film stock, which content was the result from the amateur film maker’s need to fill the film roll to the end before sending it for processing. In effect a way of killing time, these images do not depict the “unique” moments of which the archive mainly consists, but commonplace, banal scenes.

Jasper Rigole