#54: What about disabled artists?|#6: Demand that visitors are active.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#17: An exhibition is never finished.|#35: The artist fee should be good.|#107: Build a community / scene.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#10: Don’t be obsessed with numbers.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#81: Things come alive when there is friction.|#16: Kunsthal Gent will always be a construction site.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#21: Live with the exhibition, spend time with it.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#26: More artists, less borders.|#28: Make Contracts.|#117: Consider design, organisational structures and architecture as programme.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#91: Embrace doubt.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#34: We pay artists.|#74: Last one out turns of the lights.|#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|#127: Remain practical: what happens to the work in an endless exhibition?|#54: What about disabled artists?|#6: Demand that visitors are active.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#17: An exhibition is never finished.|#35: The artist fee should be good.|#107: Build a community / scene.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#10: Don’t be obsessed with numbers.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#81: Things come alive when there is friction.|#16: Kunsthal Gent will always be a construction site.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#21: Live with the exhibition, spend time with it.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#26: More artists, less borders.|#28: Make Contracts.|#117: Consider design, organisational structures and architecture as programme.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#91: Embrace doubt.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#34: We pay artists.|#74: Last one out turns of the lights.|#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|#127: Remain practical: what happens to the work in an endless exhibition?|
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29.10.2021 20:00

Opening & artist talk

Pay what you can

OFFoff + Kunsthal Gent present:
Suspension - Sebastian Diaz Morales

Opening & artist talk

Friday 29 October 2021, 20.00, Old House

Suspension - Sebastian Diaz Morales
Video installation, 2K digital video, 14’30’’, 2014

Produced with the support of the Mondriaan Fonds
Presented by Art cinema OFFoff and Kunsthal Gent


The mind was dreaming.
The world was its dream.

Jorge Luis Borges

In Suspension a young man is hanging in the air, falling, or perhaps drifting through time and space. There is no particularor definite way to understand his situation. The enlarged image of the falling man gains a monumental quality in the exhibition space, where spectators are able to move up and down stairs and plateaus to engage with the image in a more intimate way. The installation takes its departing point from Moebius’s comic strip Absoluten Caufeltrail, where a man falls endlessly, crossing in his plunge several gates or dimensions of parallel universes. In his re-imagination of a man’s fall, Sebastián Díaz Morales envisions the world as an endless void, evoking a timeless gravity that makes us fall deeper and deeper into our own humanity.

Diaz Morales’s questioning of reality in film, whether concerning landscape, the urban, or even the sociopolitical, has been marked from the very outset by a fundamental distrust of the belief in a single, unified reality. With Diaz Morales, the camera does not function as a medium for faithfully depicting and recording what is observed, but is an essential, even epistemic means for questioning and appropriating reality.

Diaz Morales’s examination of perception and reality is based on the assumption that reality itself is by nature highly fictional. “I am very interested in the notion of reality and fiction. (...) My work explores the boundaries between reality and fiction,” says Diaz Morales. Thus, his films do not simply transport the viewer into another, surreal, or phantasmal realm, but they strip reality of its familiarity and distort it, making it seem like something else.

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