#32: Be pan-gender polyphonic.|#82: Clean and sterile looks professional, but really boring.|#127: Remain practical: what happens to the work in an endless exhibition?|#92: We’re a learning organisation.|#84: The White Cube is a lie.|#124: Do less, do it better.|#56: Take a lunch break.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#17: An exhibition is never finished.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#51: How do we invite the true unknown?|#99: Evolve according to changing needs.|#28: Make Contracts.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#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.|#19: Have fun at the exhibition.|#53: Immaterial support for artists is important.|#10: Don’t be obsessed with numbers.|#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|#4: Pay what you can.|#137: Use the publication as programming space|#30: Don’t work with artists who are assholes.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#20: Are exhibitions the most suitable form for the art that we present?|#39: Be the early stepping stone in an artist’s career|#32: Be pan-gender polyphonic.|#82: Clean and sterile looks professional, but really boring.|#127: Remain practical: what happens to the work in an endless exhibition?|#92: We’re a learning organisation.|#84: The White Cube is a lie.|#124: Do less, do it better.|#56: Take a lunch break.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#17: An exhibition is never finished.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#51: How do we invite the true unknown?|#99: Evolve according to changing needs.|#28: Make Contracts.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#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.|#19: Have fun at the exhibition.|#53: Immaterial support for artists is important.|#10: Don’t be obsessed with numbers.|#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|#4: Pay what you can.|#137: Use the publication as programming space|#30: Don’t work with artists who are assholes.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#20: Are exhibitions the most suitable form for the art that we present?|#39: Be the early stepping stone in an artist’s career|
This website uses cookies to improve your user experience. More info

09.12.2019 20:00

film screenings

Pay what you can

Art cinema OFFoff presents:
Te gast: Nazli Dinçel

Between Relating and Use

—US/AR, 2018, 9’, color, 16mm

Shape of a Surface

—TR, 2017, 9’, color, 16mm

Solitary Acts (4,5,6)

—US/TR, 2015, 23’ color, 16mm

Untitled

—US, 2016, 12’, color, digital

Instructions on How to Make a Film

—CA/VS, 2018, 13’, black-white, 16mm

Nazli Dinçels 16mm films are made entirely by hand. She scratches, types, sews and stamps her letters on the image. These physical actions are related to traditional women's tasks in her Turkish upbringing, such as cooking or carpet weaving. In doing so, she searches for a visual language that can express what it means to be a Turkish immigrant in the United States today, to make films there on celluloid. She pushes her often painful, embarrassing and sexually charged childhood memories into her films, both literally and figuratively. Text becomes image, the image becomes body.

Tickets: 8 euro /5 euro (reductie)

C568df 64cc596cb5c94412a829d85a3a506154mv2 d 3956 2728 s 4 2