#56: Take a lunch break.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#68: Once in a while we need to get out of utopia and get something done.|#111: Do it together.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#40: Follow the artist|#137: Use the publication as programming space|#6: Demand that visitors are active.|#107: Build a community / scene.|#29: We make the program for the artist that we exhibit.|#51: How do we invite the true unknown?|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#105: Kunsthal Gent is local in scale, but globally connected.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#35: The artist fee should be good.|#15: Kunsthal Gent aims to be an extension of public space.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#65: No excuses: Thursday morning, team meeting.|#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|#84: The White Cube is a lie.|#55: Keep basic human needs on the forefront.|#16: Kunsthal Gent will always be a construction site.|#37: Operate with radical transparency.|#56: Take a lunch break.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#68: Once in a while we need to get out of utopia and get something done.|#111: Do it together.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#40: Follow the artist|#137: Use the publication as programming space|#6: Demand that visitors are active.|#107: Build a community / scene.|#29: We make the program for the artist that we exhibit.|#51: How do we invite the true unknown?|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#105: Kunsthal Gent is local in scale, but globally connected.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#35: The artist fee should be good.|#15: Kunsthal Gent aims to be an extension of public space.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#65: No excuses: Thursday morning, team meeting.|#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|#84: The White Cube is a lie.|#55: Keep basic human needs on the forefront.|#16: Kunsthal Gent will always be a construction site.|#37: Operate with radical transparency.|
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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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