#20: Are exhibitions the most suitable form for the art that we present?|#28: Make Contracts.|#105: Kunsthal Gent is local in scale, but globally connected.|#54: What about disabled artists?|#37: Operate with radical transparency.|#111: Do it together.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#59: Always protect the floor when painting (or pouring concrete)|#98: The success of it will not lie in the result but in the process.|#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.|#32: Be pan-gender polyphonic.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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.|#74: Last one out turns of the lights.|#68: Once in a while we need to get out of utopia and get something done.|#124: Do less, do it better.|#82: Clean and sterile looks professional, but really boring.|#19: Have fun at the exhibition.|#35: The artist fee should be good.|#10: Don’t be obsessed with numbers.|#15: Kunsthal Gent aims to be an extension of public space.|#84: The White Cube is a lie.|#16: Kunsthal Gent will always be a construction site.|#21: Live with the exhibition, spend time with it.|#20: Are exhibitions the most suitable form for the art that we present?|#28: Make Contracts.|#105: Kunsthal Gent is local in scale, but globally connected.|#54: What about disabled artists?|#37: Operate with radical transparency.|#111: Do it together.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#59: Always protect the floor when painting (or pouring concrete)|#98: The success of it will not lie in the result but in the process.|#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.|#32: Be pan-gender polyphonic.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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.|#74: Last one out turns of the lights.|#68: Once in a while we need to get out of utopia and get something done.|#124: Do less, do it better.|#82: Clean and sterile looks professional, but really boring.|#19: Have fun at the exhibition.|#35: The artist fee should be good.|#10: Don’t be obsessed with numbers.|#15: Kunsthal Gent aims to be an extension of public space.|#84: The White Cube is a lie.|#16: Kunsthal Gent will always be a construction site.|#21: Live with the exhibition, spend time with it.|
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14.10.2019 20:00

film screenings

Pay what you can

Art cinema OFFoff presents:
NY underground: Smith versus Rubin

Flaming Creatures, Jack Smith
—US, 1962, 45', black-white, HD-transfer from 16mm


Christmas on Earth, Barbara Rubin
—US, 1963, 30’, getint, HD-transfer from 16mm

Barbara Rubin introduced Bob Dylan to Allen Ginsberg, The Velvet Underground to Andy Warhol and Knokke-Zoute to Jack Smith's scandalous Flaming Creatures. At the age of seventeen she filmed Christmas on Earth, hailed by Mekas as 'down to earth beauty, so real as only a terrible beauty can be'.

I.s.m. Film Fest Gent

Tickets: 8 euro / 5 euro (reductie)

For more information:
https://offoff.be/events/ny-underground-smith-versus-rubin/

Christmas on Earth 768x576