#6: Demand that visitors are active.|#10: Don’t be obsessed with numbers.|#137: Use the publication as programming space|#20: Are exhibitions the most suitable form for the art that we present?|#16: Kunsthal Gent will always be a construction site.|#37: Operate with radical transparency.|#105: Kunsthal Gent is local in scale, but globally connected.|#64: Arrange a distribution of forces.|#30: Don’t work with artists who are assholes.|#28: Make Contracts.|#94: No objections? Just do it.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#62: Be kind. Full dishwasher: empty it.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#32: Be pan-gender polyphonic.|#117: Consider design, organisational structures and architecture as programme.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#124: Do less, do it better.|#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.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#112: Spaces today don’t need to be curated, but occupied.|#65: No excuses: Thursday morning, team meeting.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#34: We pay artists.|#6: Demand that visitors are active.|#10: Don’t be obsessed with numbers.|#137: Use the publication as programming space|#20: Are exhibitions the most suitable form for the art that we present?|#16: Kunsthal Gent will always be a construction site.|#37: Operate with radical transparency.|#105: Kunsthal Gent is local in scale, but globally connected.|#64: Arrange a distribution of forces.|#30: Don’t work with artists who are assholes.|#28: Make Contracts.|#94: No objections? Just do it.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#62: Be kind. Full dishwasher: empty it.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#32: Be pan-gender polyphonic.|#117: Consider design, organisational structures and architecture as programme.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#124: Do less, do it better.|#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.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#112: Spaces today don’t need to be curated, but occupied.|#65: No excuses: Thursday morning, team meeting.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#34: We pay artists.|
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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