#112: Spaces today don’t need to be curated, but occupied.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#99: Evolve according to changing needs.|#82: Clean and sterile looks professional, but really boring.|#98: The success of it will not lie in the result but in the process.|#111: Do it together.|#132: Things will always look weird when you’re the first doing it.|#14: Can you also remain a toddler institution?|#119: Be a space of production.|#74: Last one out turns of the lights.|#127: Remain practical: what happens to the work in an endless exhibition?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#37: Operate with radical transparency.|#6: Demand that visitors are active.|#117: Consider design, organisational structures and architecture as programme.|#16: Kunsthal Gent will always be a construction site.|#21: Live with the exhibition, spend time with it.|#56: Take a lunch break.|#28: Make Contracts.|#26: More artists, less borders.|#94: No objections? Just do it.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#29: We make the program for the artist that we exhibit.|#112: Spaces today don’t need to be curated, but occupied.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#99: Evolve according to changing needs.|#82: Clean and sterile looks professional, but really boring.|#98: The success of it will not lie in the result but in the process.|#111: Do it together.|#132: Things will always look weird when you’re the first doing it.|#14: Can you also remain a toddler institution?|#119: Be a space of production.|#74: Last one out turns of the lights.|#127: Remain practical: what happens to the work in an endless exhibition?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#37: Operate with radical transparency.|#6: Demand that visitors are active.|#117: Consider design, organisational structures and architecture as programme.|#16: Kunsthal Gent will always be a construction site.|#21: Live with the exhibition, spend time with it.|#56: Take a lunch break.|#28: Make Contracts.|#26: More artists, less borders.|#94: No objections? Just do it.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#29: We make the program for the artist that we exhibit.|
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26.10.2020 20:00

co-hosted by Kunsthal Gent, Vooruit and U-Gent

Pay what you can

Art cinema OFFoff presents:
Nightcleaners (carte blanche Silvia Federici)

NIGHTCLEANERS
carte blanche Silvia Federici
GB • 1975 • 90' • z/w • digitaal

Maandag 26 oktober, 20:00
Reserveer een plaats

Activiste, auteur en docent Silvia Federici, bekend om haar onderzoek en engagement op het kruispunt van feministische, antikapitalistische en antikoloniale strijd, stelt de film Nightcleaners (1975) voor. Deze carte blanche kadert in een meerdaags evenement met Silvia Federici in samenwerking met Kunsthal Gent, Universiteit Gent en Vooruit (tevens een online workshop en een lezing door Silvia Federici).

Nightcleaners
is gemaakt door het Berwick Street Collective bestaande uit Marc Karlin, Mary Kelly, James Scott en Humphry Trevelyan. Het collectief wordt gezien als de avant-garde van de Britse documentairefilm van de jaren 70 met inspiraties als Jean-Luc Godard en Chris Marker. Hun films behandelen politieke en culturele kwesties zoals het conflict tussen ondervertegenwoordigde arbeidersgemeenschappen of de politieke hiërarchieën binnen vakbonden en regeringen.

De film was oorspronkelijk bedoeld als campagnefilm voor het verenigen van onderbetaalde vrouwen die ’s nachts kantoorgebouwen poetsen. Het Berwick Street Collective veranderde de oorspronkelijke vorm van de film toen ze de complexiteit van de campagne en de verschillende verhoudingen en interacties binnen de groeperingen aanschouwden en in beeld wilden brengen. Het resultaat is een reflexieve film waarvan het onderzoek naar de manier van filmische representatie deel uitmaakt van de structuur en het doel van de film zelf.

Marc Karlin noemt het een film “about distances”. “The film was about the distance between us and the nightcleaners, between the women’s movement and the nightcleaners, and was choreographing a situation in which communication was absolutely near enough impossible.”

Martine Vanneuville
, schoonmaakster bij Universiteit Gent en vakbondsvertegenwoordiger, neemt deel aan het filmprogramma. Silvia Federici brengt een video-inleiding.


Beeld: lux.org

Nightcleaners e1585562668694