#65: No excuses: Thursday morning, team meeting.|#112: Spaces today don’t need to be curated, but occupied.|#91: Embrace doubt.|#28: Make Contracts.|#99: Evolve according to changing needs.|#14: Can you also remain a toddler institution?|#84: The White Cube is a lie.|#37: Operate with radical transparency.|#4: Pay what you can.|#55: Keep basic human needs on the forefront.|#117: Consider design, organisational structures and architecture as programme.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#132: Things will always look weird when you’re the first doing it.|#54: What about disabled artists?|#119: Be a space of production.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#35: The artist fee should be good.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#62: Be kind. Full dishwasher: empty it.|#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.|#20: Are exhibitions the most suitable form for the art that we present?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#89: Build-in impurity within the organisation.|#17: An exhibition is never finished.|#65: No excuses: Thursday morning, team meeting.|#112: Spaces today don’t need to be curated, but occupied.|#91: Embrace doubt.|#28: Make Contracts.|#99: Evolve according to changing needs.|#14: Can you also remain a toddler institution?|#84: The White Cube is a lie.|#37: Operate with radical transparency.|#4: Pay what you can.|#55: Keep basic human needs on the forefront.|#117: Consider design, organisational structures and architecture as programme.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#132: Things will always look weird when you’re the first doing it.|#54: What about disabled artists?|#119: Be a space of production.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#35: The artist fee should be good.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#62: Be kind. Full dishwasher: empty it.|#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.|#20: Are exhibitions the most suitable form for the art that we present?|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#89: Build-in impurity within the organisation.|#17: An exhibition is never finished.|
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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