#74: Last one out turns of the lights.|#30: Don’t work with artists who are assholes.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#90: The best systems have a failure or ‘a hole’ in them…|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#68: Once in a while we need to get out of utopia and get something done.|#15: Kunsthal Gent aims to be an extension of public space.|#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|#59: Always protect the floor when painting (or pouring concrete)|#39: Be the early stepping stone in an artist’s career|#53: Immaterial support for artists is important.|#14: Can you also remain a toddler institution?|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#28: Make Contracts.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#6: Demand that visitors are active.|#89: Build-in impurity within the organisation.|#32: Be pan-gender polyphonic.|#81: Things come alive when there is friction.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#99: Evolve according to changing needs.|#137: Use the publication as programming space|#74: Last one out turns of the lights.|#30: Don’t work with artists who are assholes.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#90: The best systems have a failure or ‘a hole’ in them…|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#68: Once in a while we need to get out of utopia and get something done.|#15: Kunsthal Gent aims to be an extension of public space.|#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|#59: Always protect the floor when painting (or pouring concrete)|#39: Be the early stepping stone in an artist’s career|#53: Immaterial support for artists is important.|#14: Can you also remain a toddler institution?|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#28: Make Contracts.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#6: Demand that visitors are active.|#89: Build-in impurity within the organisation.|#32: Be pan-gender polyphonic.|#81: Things come alive when there is friction.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#99: Evolve according to changing needs.|#137: Use the publication as programming space|
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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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