#127: Remain practical: what happens to the work in an endless exhibition?|#21: Live with the exhibition, spend time with it.|#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?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#30: Don’t work with artists who are assholes.|#89: Build-in impurity within the organisation.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#92: We’re a learning organisation.|#68: Once in a while we need to get out of utopia and get something done.|#39: Be the early stepping stone in an artist’s career|#90: The best systems have a failure or ‘a hole’ in them…|#112: Spaces today don’t need to be curated, but occupied.|#26: More artists, less borders.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#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|#6: Demand that visitors are active.|#91: Embrace doubt.|#14: Can you also remain a toddler institution?|#36: We support production separately.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#10: Don’t be obsessed with numbers.|#34: We pay artists.|#4: Pay what you can.|#35: The artist fee should be good.|#127: Remain practical: what happens to the work in an endless exhibition?|#21: Live with the exhibition, spend time with it.|#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?|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#30: Don’t work with artists who are assholes.|#89: Build-in impurity within the organisation.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#92: We’re a learning organisation.|#68: Once in a while we need to get out of utopia and get something done.|#39: Be the early stepping stone in an artist’s career|#90: The best systems have a failure or ‘a hole’ in them…|#112: Spaces today don’t need to be curated, but occupied.|#26: More artists, less borders.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#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|#6: Demand that visitors are active.|#91: Embrace doubt.|#14: Can you also remain a toddler institution?|#36: We support production separately.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#10: Don’t be obsessed with numbers.|#34: We pay artists.|#4: Pay what you can.|#35: The artist fee should be good.|
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22.11.2021 20:00

Filmprogramma

Prijs: € 8

Art cinema OFFoff presenteert:
James Bridle - Se ti sabir + My delight on a shining night

James Bridle

Se ti sabir

GB • 2019 • 19' • kleur • digitaal

My delight on a shining night

GB • 2018 • 32' • kleur • digitaal

De Britse schrijver en kunstenaar James Bridle (1980) focust zich op de discussie over technologie, digitalisering, de aard van intelligentie en de gevolgen hiervan voor onze samenleving. Zijn kritische films nodigen uit tot reflectie zonder opdringerig te zijn of terug te vallen op geschreven of gesproken argumentatie, zoals in My delight on a shining night (2018).

Deze film documenteert de flamingo-populatie in het zoutmeer van Limassol die van de jaren ’70 tot 2008 dienst deed als uitzendplek van een ‘number station’. Deze stations zonden eindeloos lang reeksen nummers uit, waarschijnlijk gecodeerde spionageboodschappen, een veelgebruikte techniek in de Koude Oorlog. Volgens Bridle is My delighteen film over “the shimmering infrastructure of control and surveillance and the exuberant life of the birds and ourselves, between information and ecology, between computational prediction and embodied observation.”

Se ti sabir (2019) is een monoloog en essay bestaande uit shots van enkele stukken land behorende tot de ‘Maastricht Formatie’ en een reflectie over verschillende vormen van intelligentie. Centraal staat onze houding tegenover “non-human” vormen van kennis. In een tijdperk waarin we steeds meer leren over verschillende vormen van intelligentie die onze wereld kunnen bevolken, creëren we tegelijk computersystemen die in toenemende mate onze cognitieve en creatieve processen overnemen. Se ti sabir tracht een nieuwe houding te verbeelden tegenover andere vormen van intelligentie, die ons mogelijk toelaat niet alleen elkaar beter te begrijpen maar ook de wezens die ons omringen en die we zelf creëren.

Se ti sabir 001

Se ti sabir © James Bridle

6 My delight on a shining night James Bridle 1024x581