#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#51: How do we invite the true unknown?|#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|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#90: The best systems have a failure or ‘a hole’ in them…|#4: Pay what you can.|#28: Make Contracts.|#89: Build-in impurity within the organisation.|#54: What about disabled artists?|#39: Be the early stepping stone in an artist’s career|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#132: Things will always look weird when you’re the first doing it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#34: We pay artists.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#59: Always protect the floor when painting (or pouring concrete)|#32: Be pan-gender polyphonic.|#21: Live with the exhibition, spend time with it.|#35: The artist fee should be good.|#16: Kunsthal Gent will always be a construction site.|#37: Operate with radical transparency.|#94: No objections? Just do it.|#2: Bring something new to the city of Ghent.|#61: No all male install teams.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#51: How do we invite the true unknown?|#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|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#90: The best systems have a failure or ‘a hole’ in them…|#4: Pay what you can.|#28: Make Contracts.|#89: Build-in impurity within the organisation.|#54: What about disabled artists?|#39: Be the early stepping stone in an artist’s career|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#132: Things will always look weird when you’re the first doing it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#34: We pay artists.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#59: Always protect the floor when painting (or pouring concrete)|#32: Be pan-gender polyphonic.|#21: Live with the exhibition, spend time with it.|#35: The artist fee should be good.|#16: Kunsthal Gent will always be a construction site.|#37: Operate with radical transparency.|#94: No objections? Just do it.|#2: Bring something new to the city of Ghent.|#61: No all male install teams.|
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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