#119: Be a space of production.|#107: Build a community / scene.|#44: No name tags at dinner.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#34: We pay artists.|#84: The White Cube is a lie.|#90: The best systems have a failure or ‘a hole’ in them…|#15: Kunsthal Gent aims to be an extension of public space.|#81: Things come alive when there is friction.|#54: What about disabled artists?|#112: Spaces today don’t need to be curated, but occupied.|#28: Make Contracts.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#91: Embrace doubt.|#137: Use the publication as programming space|#17: An exhibition is never finished.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#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.|#37: Operate with radical transparency.|#36: We support production separately.|#32: Be pan-gender polyphonic.|#4: Pay what you can.|#14: Can you also remain a toddler institution?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#53: Immaterial support for artists is important.|#119: Be a space of production.|#107: Build a community / scene.|#44: No name tags at dinner.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#34: We pay artists.|#84: The White Cube is a lie.|#90: The best systems have a failure or ‘a hole’ in them…|#15: Kunsthal Gent aims to be an extension of public space.|#81: Things come alive when there is friction.|#54: What about disabled artists?|#112: Spaces today don’t need to be curated, but occupied.|#28: Make Contracts.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#91: Embrace doubt.|#137: Use the publication as programming space|#17: An exhibition is never finished.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#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.|#37: Operate with radical transparency.|#36: We support production separately.|#32: Be pan-gender polyphonic.|#4: Pay what you can.|#14: Can you also remain a toddler institution?|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#53: Immaterial support for artists is important.|
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11.11.2019 20:00

film screenings

Pay what you can

Art cinema OFFoff presents:
The Young & the Beautiful: Guernica/Perséphone/ Les Choses Qu’On Laisse Tomber et Qui Roulent

Guernica, Robert Hessens & Alain Resnais

—FR, 1951, 13’, black-white, HD digital

Perséphone, Luc De Heusch (als Luc Zangrie)

—BE, 1950, black-white, sound, digital

Pourquoi on ne laisse pas tomber: Les Choses Qu’On Laisse Tomber et Qui Roulent, La Chambre Automatique

—BE, 2018, 26’, color, digital

“Je souhaite approcher par le film la complexité de la pensée, son mécanisme interne. Dès qu'on descend dans l'inconscient, l'émotion naît. Et le cinéma ne devrait être qu'un montage d'émotions.”

- Alain Resnais

Ticket: 8 euro / 5 euro (reductie)