#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.|#14: Can you also remain a toddler institution?|#98: The success of it will not lie in the result but in the process.|#74: Last one out turns of the lights.|#82: Clean and sterile looks professional, but really boring.|#107: Build a community / scene.|#84: The White Cube is a lie.|#132: Things will always look weird when you’re the first doing it.|#64: Arrange a distribution of forces.|#59: Always protect the floor when painting (or pouring concrete)|#65: No excuses: Thursday morning, team meeting.|#56: Take a lunch break.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#117: Consider design, organisational structures and architecture as programme.|#111: Do it together.|#94: No objections? Just do it.|#51: How do we invite the true unknown?|#39: Be the early stepping stone in an artist’s career|#127: Remain practical: what happens to the work in an endless exhibition?|#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|#16: Kunsthal Gent will always be a construction site.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#28: Make Contracts.|#61: No all male install teams.|#44: No name tags at dinner.|#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.|#14: Can you also remain a toddler institution?|#98: The success of it will not lie in the result but in the process.|#74: Last one out turns of the lights.|#82: Clean and sterile looks professional, but really boring.|#107: Build a community / scene.|#84: The White Cube is a lie.|#132: Things will always look weird when you’re the first doing it.|#64: Arrange a distribution of forces.|#59: Always protect the floor when painting (or pouring concrete)|#65: No excuses: Thursday morning, team meeting.|#56: Take a lunch break.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#117: Consider design, organisational structures and architecture as programme.|#111: Do it together.|#94: No objections? Just do it.|#51: How do we invite the true unknown?|#39: Be the early stepping stone in an artist’s career|#127: Remain practical: what happens to the work in an endless exhibition?|#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|#16: Kunsthal Gent will always be a construction site.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#28: Make Contracts.|#61: No all male install teams.|#44: No name tags at dinner.|
This website uses cookies to improve your user experience. More info

Opening: 29.10.2021 – 20:00

29.10.2021—08.01.2022

Exhibition

OFFoff + Kunsthal Gent present:
Suspension - Sebastian Diaz Morales

Friday 29 October 2021, 20.00, Old House

Suspension - Sebastian Diaz Morales
Video installation, 2K digital video, 14’30’’, 2014

Produced with the support of the Mondriaan Fonds
Presented by Art cinema OFFoff and Kunsthal Gent


The mind was dreaming.
The world was its dream.

Jorge Luis Borges

In Suspension a young man is hanging in the air, falling, or perhaps drifting through time and space. There is no particularor definite way to understand his situation. The enlarged image of the falling man gains a monumental quality in the exhibition space, where spectators are able to move up and down stairs and plateaus to engage with the image in a more intimate way. The installation takes its departing point from Moebius’s comic strip Absoluten Caufeltrail, where a man falls endlessly, crossing in his plunge several gates or dimensions of parallel universes. In his re-imagination of a man’s fall, Sebastián Díaz Morales envisions the world as an endless void, evoking a timeless gravity that makes us fall deeper and deeper into our own humanity.

Diaz Morales’s questioning of reality in film, whether concerning landscape, the urban, or even the sociopolitical, has been marked from the very outset by a fundamental distrust of the belief in a single, unified reality. With Diaz Morales, the camera does not function as a medium for faithfully depicting and recording what is observed, but is an essential, even epistemic means for questioning and appropriating reality.

Diaz Morales’s examination of perception and reality is based on the assumption that reality itself is by nature highly fictional. “I am very interested in the notion of reality and fiction. (...) My work explores the boundaries between reality and fiction,” says Diaz Morales. Thus, his films do not simply transport the viewer into another, surreal, or phantasmal realm, but they strip reality of its familiarity and distort it, making it seem like something else.

OFFoff + Kunsthal Gent present:
Suspension - Sebastian Diaz Morales

Morales5

RELATED EVENTS

EXHIBITION VIEWS
Screen Shot 2021 10 14 at 17 51 14