#90: The best systems have a failure or ‘a hole’ in them…|#124: Do less, do it better.|#16: Kunsthal Gent will always be a construction site.|#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|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#64: Arrange a distribution of forces.|#19: Have fun at the exhibition.|#21: Live with the exhibition, spend time with it.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#56: Take a lunch break.|#20: Are exhibitions the most suitable form for the art that we present?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#94: No objections? Just do it.|#81: Things come alive when there is friction.|#55: Keep basic human needs on the forefront.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#6: Demand that visitors are active.|#82: Clean and sterile looks professional, but really boring.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#127: Remain practical: what happens to the work in an endless exhibition?|#61: No all male install teams.|#44: No name tags at dinner.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#17: An exhibition is never finished.|#90: The best systems have a failure or ‘a hole’ in them…|#124: Do less, do it better.|#16: Kunsthal Gent will always be a construction site.|#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|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#64: Arrange a distribution of forces.|#19: Have fun at the exhibition.|#21: Live with the exhibition, spend time with it.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#56: Take a lunch break.|#20: Are exhibitions the most suitable form for the art that we present?|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#94: No objections? Just do it.|#81: Things come alive when there is friction.|#55: Keep basic human needs on the forefront.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#6: Demand that visitors are active.|#82: Clean and sterile looks professional, but really boring.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#127: Remain practical: what happens to the work in an endless exhibition?|#61: No all male install teams.|#44: No name tags at dinner.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#17: An exhibition is never finished.|
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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