#68: Once in a while we need to get out of utopia and get something done.|#10: Don’t be obsessed with numbers.|#99: Evolve according to changing needs.|#55: Keep basic human needs on the forefront.|#64: Arrange a distribution of forces.|#119: Be a space of production.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#107: Build a community / scene.|#59: Always protect the floor when painting (or pouring concrete)|#127: Remain practical: what happens to the work in an endless exhibition?|#17: An exhibition is never finished.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#30: Don’t work with artists who are assholes.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#53: Immaterial support for artists is important.|#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.|#16: Kunsthal Gent will always be a construction site.|#14: Can you also remain a toddler institution?|#40: Follow the artist|#36: We support production separately.|#37: Operate with radical transparency.|#94: No objections? Just do it.|#68: Once in a while we need to get out of utopia and get something done.|#10: Don’t be obsessed with numbers.|#99: Evolve according to changing needs.|#55: Keep basic human needs on the forefront.|#64: Arrange a distribution of forces.|#119: Be a space of production.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#107: Build a community / scene.|#59: Always protect the floor when painting (or pouring concrete)|#127: Remain practical: what happens to the work in an endless exhibition?|#17: An exhibition is never finished.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#30: Don’t work with artists who are assholes.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#53: Immaterial support for artists is important.|#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.|#16: Kunsthal Gent will always be a construction site.|#14: Can you also remain a toddler institution?|#40: Follow the artist|#36: We support production separately.|#37: Operate with radical transparency.|#94: No objections? Just do it.|
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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