#65: No excuses: Thursday morning, team meeting.|#117: Consider design, organisational structures and architecture as programme.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#94: No objections? Just do it.|#51: How do we invite the true unknown?|#56: Take a lunch break.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#127: Remain practical: what happens to the work in an endless exhibition?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#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.|#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|#34: We pay artists.|#19: Have fun at the exhibition.|#6: Demand that visitors are active.|#2: Bring something new to the city of Ghent.|#112: Spaces today don’t need to be curated, but occupied.|#98: The success of it will not lie in the result but in the process.|#36: We support production separately.|#53: Immaterial support for artists is important.|#89: Build-in impurity within the organisation.|#21: Live with the exhibition, spend time with it.|#30: Don’t work with artists who are assholes.|#119: Be a space of production.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#65: No excuses: Thursday morning, team meeting.|#117: Consider design, organisational structures and architecture as programme.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#94: No objections? Just do it.|#51: How do we invite the true unknown?|#56: Take a lunch break.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#127: Remain practical: what happens to the work in an endless exhibition?|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#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.|#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|#34: We pay artists.|#19: Have fun at the exhibition.|#6: Demand that visitors are active.|#2: Bring something new to the city of Ghent.|#112: Spaces today don’t need to be curated, but occupied.|#98: The success of it will not lie in the result but in the process.|#36: We support production separately.|#53: Immaterial support for artists is important.|#89: Build-in impurity within the organisation.|#21: Live with the exhibition, spend time with it.|#30: Don’t work with artists who are assholes.|#119: Be a space of production.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|
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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