#105: Kunsthal Gent is local in scale, but globally connected.|#40: Follow the artist|#127: Remain practical: what happens to the work in an endless exhibition?|#4: Pay what you can.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#90: The best systems have a failure or ‘a hole’ in them…|#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.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#59: Always protect the floor when painting (or pouring concrete)|#107: Build a community / scene.|#34: We pay artists.|#39: Be the early stepping stone in an artist’s career|#62: Don’t be a dick. Full dishwasher: empty it.|#117: Consider design, organisational structures and architecture as programme.|#132: Things will always look weird when you’re the first doing it.|#51: How do we invite the true unknown?|#84: The White Cube is a lie.|#36: We support production separately.|#82: Clean and sterile looks professional, but really boring.|#32: Be pan-gender polyphonic.|#30: Don’t work with artists who are assholes.|#94: No objections? Just do it.|#16: Kunsthal Gent will always be a construction site.|#74: Last one out turns of the lights.|#92: We’re a learning organisation.|#55: Keep basic human needs on the forefront.|#6: Demand that visitors are active.|#2: Bring something new to the city of Ghent.|#137: Use the publication as programming space|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#124: Do less, do it better.|#119: Be a space of production.|#64: Arrange a distribution of forces.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#112: Spaces today don’t need to be curated, but occupied.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#91: Embrace doubt.|#56: Take a lunch break.|#21: Live with the exhibition, spend time with it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#44: No name tags at dinner.|#14: Can you also remain a toddler institution?|#98: The success of it will not lie in the result but in the process.|#37: Operate with radical transparency.|#15: Kunsthal Gent aims to be an extension of public space.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#19: Have fun at the exhibition.|#81: Things come alive when there is friction.|#20: Are exhibitions the most suitable form for the art that we present?|#10: Don’t be obsessed with numbers.|#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.|#29: We make the program for the artist that we exhibit.|#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|#111: Do it together.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#54: What about disabled artists?|#61: No all male install teams.|#26: More artists, less borders.|#28: Make Contracts.|#65: No excuses: Thursday morning, team meeting.|#68: Once in a while we need to get out of utopia and get something done.|#53: Immaterial support for artists is important.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#35: The artist fee should be good.|#99: Evolve according to changing needs.|#17: An exhibition is never finished.|#89: Build-in impurity within the organisation.|#105: Kunsthal Gent is local in scale, but globally connected.|#40: Follow the artist|#127: Remain practical: what happens to the work in an endless exhibition?|#4: Pay what you can.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#90: The best systems have a failure or ‘a hole’ in them…|#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.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#59: Always protect the floor when painting (or pouring concrete)|#107: Build a community / scene.|#34: We pay artists.|#39: Be the early stepping stone in an artist’s career|#62: Don’t be a dick. Full dishwasher: empty it.|#117: Consider design, organisational structures and architecture as programme.|#132: Things will always look weird when you’re the first doing it.|#51: How do we invite the true unknown?|#84: The White Cube is a lie.|#36: We support production separately.|#82: Clean and sterile looks professional, but really boring.|#32: Be pan-gender polyphonic.|#30: Don’t work with artists who are assholes.|#94: No objections? Just do it.|#16: Kunsthal Gent will always be a construction site.|#74: Last one out turns of the lights.|#92: We’re a learning organisation.|#55: Keep basic human needs on the forefront.|#6: Demand that visitors are active.|#2: Bring something new to the city of Ghent.|#137: Use the publication as programming space|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#124: Do less, do it better.|#119: Be a space of production.|#64: Arrange a distribution of forces.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#112: Spaces today don’t need to be curated, but occupied.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#91: Embrace doubt.|#56: Take a lunch break.|#21: Live with the exhibition, spend time with it.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#44: No name tags at dinner.|#14: Can you also remain a toddler institution?|#98: The success of it will not lie in the result but in the process.|#37: Operate with radical transparency.|#15: Kunsthal Gent aims to be an extension of public space.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#19: Have fun at the exhibition.|#81: Things come alive when there is friction.|#20: Are exhibitions the most suitable form for the art that we present?|#10: Don’t be obsessed with numbers.|#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.|#29: We make the program for the artist that we exhibit.|#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|#111: Do it together.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#54: What about disabled artists?|#61: No all male install teams.|#26: More artists, less borders.|#28: Make Contracts.|#65: No excuses: Thursday morning, team meeting.|#68: Once in a while we need to get out of utopia and get something done.|#53: Immaterial support for artists is important.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#35: The artist fee should be good.|#99: Evolve according to changing needs.|#17: An exhibition is never finished.|#89: Build-in impurity within the organisation.|
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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