#14: Can you also remain a toddler institution?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#81: Things come alive when there is friction.|#39: Be the early stepping stone in an artist’s career|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#51: How do we invite the true unknown?|#19: Have fun at the exhibition.|#112: Spaces today don’t need to be curated, but occupied.|#84: The White Cube is a lie.|#127: Remain practical: what happens to the work in an endless exhibition?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#64: Arrange a distribution of forces.|#16: Kunsthal Gent will always be a construction site.|#61: No all male install teams.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#107: Build a community / scene.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#62: Be kind. Full dishwasher: empty it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#20: Are exhibitions the most suitable form for the art that we present?|#17: An exhibition is never finished.|#89: Build-in impurity within the organisation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#90: The best systems have a failure or ‘a hole’ in them…|#14: Can you also remain a toddler institution?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#81: Things come alive when there is friction.|#39: Be the early stepping stone in an artist’s career|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#51: How do we invite the true unknown?|#19: Have fun at the exhibition.|#112: Spaces today don’t need to be curated, but occupied.|#84: The White Cube is a lie.|#127: Remain practical: what happens to the work in an endless exhibition?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#64: Arrange a distribution of forces.|#16: Kunsthal Gent will always be a construction site.|#61: No all male install teams.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#107: Build a community / scene.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#62: Be kind. Full dishwasher: empty it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#20: Are exhibitions the most suitable form for the art that we present?|#17: An exhibition is never finished.|#89: Build-in impurity within the organisation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#90: The best systems have a failure or ‘a hole’ in them…|
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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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