#29: We make the program for the artist that we exhibit.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#32: Be pan-gender polyphonic.|#6: Demand that visitors are active.|#40: Follow the artist|#59: Always protect the floor when painting (or pouring concrete)|#26: More artists, less borders.|#61: No all male install teams.|#39: Be the early stepping stone in an artist’s career|#112: Spaces today don’t need to be curated, but occupied.|#137: Use the publication as programming space|#64: Arrange a distribution of forces.|#30: Don’t work with artists who are assholes.|#15: Kunsthal Gent aims to be an extension of public space.|#14: Can you also remain a toddler institution?|#10: Don’t be obsessed with numbers.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#105: Kunsthal Gent is local in scale, but globally connected.|#124: Do less, do it better.|#62: Be kind. Full dishwasher: empty it.|#98: The success of it will not lie in the result but in the process.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#84: The White Cube is a lie.|#90: The best systems have a failure or ‘a hole’ in them…|#29: We make the program for the artist that we exhibit.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#32: Be pan-gender polyphonic.|#6: Demand that visitors are active.|#40: Follow the artist|#59: Always protect the floor when painting (or pouring concrete)|#26: More artists, less borders.|#61: No all male install teams.|#39: Be the early stepping stone in an artist’s career|#112: Spaces today don’t need to be curated, but occupied.|#137: Use the publication as programming space|#64: Arrange a distribution of forces.|#30: Don’t work with artists who are assholes.|#15: Kunsthal Gent aims to be an extension of public space.|#14: Can you also remain a toddler institution?|#10: Don’t be obsessed with numbers.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#105: Kunsthal Gent is local in scale, but globally connected.|#124: Do less, do it better.|#62: Be kind. Full dishwasher: empty it.|#98: The success of it will not lie in the result but in the process.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#84: The White Cube is a lie.|#90: The best systems have a failure or ‘a hole’ in them…|
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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