#107: Build a community / scene.|#61: No all male install teams.|#40: Follow the artist|#29: We make the program for the artist that we exhibit.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#37: Operate with radical transparency.|#55: Keep basic human needs on the forefront.|#2: Bring something new to the city of Ghent.|#89: Build-in impurity within the organisation.|#137: Use the publication as programming space|#84: The White Cube is a lie.|#90: The best systems have a failure or ‘a hole’ in them…|#82: Clean and sterile looks professional, but really boring.|#59: Always protect the floor when painting (or pouring concrete)|#64: Arrange a distribution of forces.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#16: Kunsthal Gent will always be a construction site.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#4: Pay what you can.|#32: Be pan-gender polyphonic.|#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.|#98: The success of it will not lie in the result but in the process.|#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|#107: Build a community / scene.|#61: No all male install teams.|#40: Follow the artist|#29: We make the program for the artist that we exhibit.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#37: Operate with radical transparency.|#55: Keep basic human needs on the forefront.|#2: Bring something new to the city of Ghent.|#89: Build-in impurity within the organisation.|#137: Use the publication as programming space|#84: The White Cube is a lie.|#90: The best systems have a failure or ‘a hole’ in them…|#82: Clean and sterile looks professional, but really boring.|#59: Always protect the floor when painting (or pouring concrete)|#64: Arrange a distribution of forces.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#16: Kunsthal Gent will always be a construction site.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#4: Pay what you can.|#32: Be pan-gender polyphonic.|#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.|#98: The success of it will not lie in the result but in the process.|#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|
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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