#89: Build-in impurity within the organisation.|#17: An exhibition is never finished.|#40: Follow the artist|#15: Kunsthal Gent aims to be an extension of public space.|#91: Embrace doubt.|#124: Do less, do it better.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#117: Consider design, organisational structures and architecture as programme.|#16: Kunsthal Gent will always be a construction site.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#4: Pay what you can.|#53: Immaterial support for artists is important.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#20: Are exhibitions the most suitable form for the art that we present?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#105: Kunsthal Gent is local in scale, but globally connected.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#32: Be pan-gender polyphonic.|#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|#119: Be a space of production.|#132: Things will always look weird when you’re the first doing it.|#44: No name tags at dinner.|#90: The best systems have a failure or ‘a hole’ in them…|#94: No objections? Just do it.|#89: Build-in impurity within the organisation.|#17: An exhibition is never finished.|#40: Follow the artist|#15: Kunsthal Gent aims to be an extension of public space.|#91: Embrace doubt.|#124: Do less, do it better.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#117: Consider design, organisational structures and architecture as programme.|#16: Kunsthal Gent will always be a construction site.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#4: Pay what you can.|#53: Immaterial support for artists is important.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#20: Are exhibitions the most suitable form for the art that we present?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#105: Kunsthal Gent is local in scale, but globally connected.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#32: Be pan-gender polyphonic.|#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|#119: Be a space of production.|#132: Things will always look weird when you’re the first doing it.|#44: No name tags at dinner.|#90: The best systems have a failure or ‘a hole’ in them…|#94: No objections? Just do it.|
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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)

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