#19: Have fun at the exhibition.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#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.|#59: Always protect the floor when painting (or pouring concrete)|#132: Things will always look weird when you’re the first doing it.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#94: No objections? Just do it.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#17: An exhibition is never finished.|#36: We support production separately.|#55: Keep basic human needs on the forefront.|#6: Demand that visitors are active.|#37: Operate with radical transparency.|#107: Build a community / scene.|#56: Take a lunch break.|#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|#34: We pay artists.|#54: What about disabled artists?|#119: Be a space of production.|#84: The White Cube is a lie.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#99: Evolve according to changing needs.|#40: Follow the artist|#19: Have fun at the exhibition.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#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.|#59: Always protect the floor when painting (or pouring concrete)|#132: Things will always look weird when you’re the first doing it.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#94: No objections? Just do it.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#17: An exhibition is never finished.|#36: We support production separately.|#55: Keep basic human needs on the forefront.|#6: Demand that visitors are active.|#37: Operate with radical transparency.|#107: Build a community / scene.|#56: Take a lunch break.|#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|#34: We pay artists.|#54: What about disabled artists?|#119: Be a space of production.|#84: The White Cube is a lie.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#99: Evolve according to changing needs.|#40: Follow the artist|
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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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