#81: Things come alive when there is friction.|#30: Don’t work with artists who are assholes.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#10: Don’t be obsessed with numbers.|#61: No all male install teams.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#82: Clean and sterile looks professional, but really boring.|#51: How do we invite the true unknown?|#132: Things will always look weird when you’re the first doing it.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#20: Are exhibitions the most suitable form for the art that we present?|#65: No excuses: Thursday morning, team meeting.|#29: We make the program for the artist that we exhibit.|#56: Take a lunch break.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#107: Build a community / scene.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#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.|#35: The artist fee should be good.|#54: What about disabled artists?|#92: We’re a learning organisation.|#28: Make Contracts.|#55: Keep basic human needs on the forefront.|#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|#81: Things come alive when there is friction.|#30: Don’t work with artists who are assholes.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#10: Don’t be obsessed with numbers.|#61: No all male install teams.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#82: Clean and sterile looks professional, but really boring.|#51: How do we invite the true unknown?|#132: Things will always look weird when you’re the first doing it.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#20: Are exhibitions the most suitable form for the art that we present?|#65: No excuses: Thursday morning, team meeting.|#29: We make the program for the artist that we exhibit.|#56: Take a lunch break.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#107: Build a community / scene.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#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.|#35: The artist fee should be good.|#54: What about disabled artists?|#92: We’re a learning organisation.|#28: Make Contracts.|#55: Keep basic human needs on the forefront.|#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|
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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