#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#112: Spaces today don’t need to be curated, but occupied.|#16: Kunsthal Gent will always be a construction site.|#64: Arrange a distribution of forces.|#51: How do we invite the true unknown?|#117: Consider design, organisational structures and architecture as programme.|#53: Immaterial support for artists is important.|#21: Live with the exhibition, spend time with it.|#37: Operate with radical transparency.|#107: Build a community / scene.|#84: The White Cube is a lie.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#28: Make Contracts.|#32: Be pan-gender polyphonic.|#59: Always protect the floor when painting (or pouring concrete)|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#15: Kunsthal Gent aims to be an extension of public space.|#20: Are exhibitions the most suitable form for the art that we present?|#68: Once in a while we need to get out of utopia and get something done.|#29: We make the program for the artist that we exhibit.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#90: The best systems have a failure or ‘a hole’ in them…|#82: Clean and sterile looks professional, but really boring.|#132: Things will always look weird when you’re the first doing it.|#127: Remain practical: what happens to the work in an endless exhibition?|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#112: Spaces today don’t need to be curated, but occupied.|#16: Kunsthal Gent will always be a construction site.|#64: Arrange a distribution of forces.|#51: How do we invite the true unknown?|#117: Consider design, organisational structures and architecture as programme.|#53: Immaterial support for artists is important.|#21: Live with the exhibition, spend time with it.|#37: Operate with radical transparency.|#107: Build a community / scene.|#84: The White Cube is a lie.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#28: Make Contracts.|#32: Be pan-gender polyphonic.|#59: Always protect the floor when painting (or pouring concrete)|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#15: Kunsthal Gent aims to be an extension of public space.|#20: Are exhibitions the most suitable form for the art that we present?|#68: Once in a while we need to get out of utopia and get something done.|#29: We make the program for the artist that we exhibit.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#90: The best systems have a failure or ‘a hole’ in them…|#82: Clean and sterile looks professional, but really boring.|#132: Things will always look weird when you’re the first doing it.|#127: Remain practical: what happens to the work in an endless exhibition?|
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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