#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#30: Don’t work with artists who are assholes.|#74: Last one out turns of the lights.|#29: We make the program for the artist that we exhibit.|#15: Kunsthal Gent aims to be an extension of public space.|#62: Be kind. Full dishwasher: empty it.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#26: More artists, less borders.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#20: Are exhibitions the most suitable form for the art that we present?|#17: An exhibition is never finished.|#124: Do less, do it better.|#28: Make Contracts.|#54: What about disabled artists?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#14: Can you also remain a toddler institution?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#132: Things will always look weird when you’re the first doing it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#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.|#34: We pay artists.|#32: Be pan-gender polyphonic.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#30: Don’t work with artists who are assholes.|#74: Last one out turns of the lights.|#29: We make the program for the artist that we exhibit.|#15: Kunsthal Gent aims to be an extension of public space.|#62: Be kind. Full dishwasher: empty it.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#26: More artists, less borders.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#20: Are exhibitions the most suitable form for the art that we present?|#17: An exhibition is never finished.|#124: Do less, do it better.|#28: Make Contracts.|#54: What about disabled artists?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#14: Can you also remain a toddler institution?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#132: Things will always look weird when you’re the first doing it.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#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.|#34: We pay artists.|#32: Be pan-gender polyphonic.|
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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