#51: How do we invite the true unknown?|#117: Consider design, organisational structures and architecture as programme.|#82: Clean and sterile looks professional, but really boring.|#107: Build a community / scene.|#44: No name tags at dinner.|#40: Follow the artist|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#81: Things come alive when there is friction.|#21: Live with the exhibition, spend time with it.|#39: Be the early stepping stone in an artist’s career|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#6: Demand that visitors are active.|#30: Don’t work with artists who are assholes.|#35: The artist fee should be good.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#112: Spaces today don’t need to be curated, but occupied.|#37: Operate with radical transparency.|#26: More artists, less borders.|#94: No objections? Just do it.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#92: We’re a learning organisation.|#32: Be pan-gender polyphonic.|#53: Immaterial support for artists is important.|#51: How do we invite the true unknown?|#117: Consider design, organisational structures and architecture as programme.|#82: Clean and sterile looks professional, but really boring.|#107: Build a community / scene.|#44: No name tags at dinner.|#40: Follow the artist|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#81: Things come alive when there is friction.|#21: Live with the exhibition, spend time with it.|#39: Be the early stepping stone in an artist’s career|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#6: Demand that visitors are active.|#30: Don’t work with artists who are assholes.|#35: The artist fee should be good.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#112: Spaces today don’t need to be curated, but occupied.|#37: Operate with radical transparency.|#26: More artists, less borders.|#94: No objections? Just do it.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#92: We’re a learning organisation.|#32: Be pan-gender polyphonic.|#53: Immaterial support for artists is important.|
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04.11.2019 20:00

film screenings

Pay what you can

Art cinema OFFoff presents:
Michael Snow + Aglaia Konrad

Wavelength, Michael Snow

—CA, 1966-67, 45’, color, 16mm

Concrete & Samples II: Blockhaus, Aglaia Konrad

—BE, 2009, 9’50’’, color, silent, videotransfer van 16mm

Wavelength is exemplary of the Structural Cinema and the way it uses architecture to indicate the stability of the image and the passing of time and light. These aspects also play a role in Concrete & Samples by Aglaia Konrad, a series of films on organic and brutalistic architecture from the 1960s and 1970s.

Ticket: 8 euro / 5 euro reductie

Michael snow wavelength 1024x663