#64: Arrange a distribution of forces.|#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.|#98: The success of it will not lie in the result but in the process.|#117: Consider design, organisational structures and architecture as programme.|#90: The best systems have a failure or ‘a hole’ in them…|#107: Build a community / scene.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#84: The White Cube is a lie.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#132: Things will always look weird when you’re the first doing it.|#6: Demand that visitors are active.|#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?|#59: Always protect the floor when painting (or pouring concrete)|#119: Be a space of production.|#51: How do we invite the true unknown?|#92: We’re a learning organisation.|#17: An exhibition is never finished.|#15: Kunsthal Gent aims to be an extension of public space.|#124: Do less, do it better.|#82: Clean and sterile looks professional, but really boring.|#34: We pay artists.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#105: Kunsthal Gent is local in scale, but globally connected.|#64: Arrange a distribution of forces.|#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.|#98: The success of it will not lie in the result but in the process.|#117: Consider design, organisational structures and architecture as programme.|#90: The best systems have a failure or ‘a hole’ in them…|#107: Build a community / scene.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#84: The White Cube is a lie.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#132: Things will always look weird when you’re the first doing it.|#6: Demand that visitors are active.|#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?|#59: Always protect the floor when painting (or pouring concrete)|#119: Be a space of production.|#51: How do we invite the true unknown?|#92: We’re a learning organisation.|#17: An exhibition is never finished.|#15: Kunsthal Gent aims to be an extension of public space.|#124: Do less, do it better.|#82: Clean and sterile looks professional, but really boring.|#34: We pay artists.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#105: Kunsthal Gent is local in scale, but globally connected.|
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05.10.2020 20:00

film screenings

Pay what you can

Art Cinema OFFoff presents:
The Young and the Beautiful - Eva Beazar + Marie Menken

Monday 05.10, 20:00
The Young and the Beautiful: Eva Beazar + Marie Menken
Reservations: https://offoff.be/


Marie Menken

Glimpse of the Garden
US • 1957 • 4' • colour • 16mm

Arabesque for Kenneth Anger

US • 1961 • 4' • colour • 16mm

Go Go Go

US • 1962-1964 • 11' • colour • 16mm

Marie Menken (1910-1970) is the unsung heroine of the American avant-garde, both mentor and muse for experimental filmmakers such as Kenneth Anger, Stan Brakhage and Jonas Mekas. In addition to paintings and collages Menken created countless experimental shorts with her 16mm Bolex camera. These rhythmic visual poems have been an important source of inspiration for young filmmaker Eva Beazar: “It’s as if you’re looking at a painting in movement. Marie Menken approaches her subjects emotionally and spontaneously, with a poetic look. She has a very unique way of thinking, looking and creating. Her films are indescribably beautiful: the use of colors, the tactility, the changing rhythm, I really love them!”

Eva Beazar

On a Hot Summer Day in November

BE • 2018 • 22' • b&w • digital

Shall We Dance on the Moon

BE • 2019 • 21' • b&w • digital

Eva Beazar: “I’m inspired by dreams, fantasy, small movements, chaos, our experiences, the unconscious. In On a Hot Summer Day in November I tried to show the tension happening between the possible and the impossible, between dreamworld and that what you have discovered in the world. In Shall We Dance On the Moon I’m more concerned with the perception of time and memory. The film shows a fictional world from a child’s viewpoint, with bizarre figures and a strange scenery. Time goes by slowly, almost seems to stand still at times, but eventually continues once again.”

2 Marie Menken Glimpse of the Garden Light Cone