#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#54: What about disabled artists?|#74: Last one out turns of the lights.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#61: No all male install teams.|#55: Keep basic human needs on the forefront.|#124: Do less, do it better.|#6: Demand that visitors are active.|#132: Things will always look weird when you’re the first doing it.|#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|#14: Can you also remain a toddler institution?|#112: Spaces today don’t need to be curated, but occupied.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#90: The best systems have a failure or ‘a hole’ in them…|#137: Use the publication as programming space|#44: No name tags at dinner.|#17: An exhibition is never finished.|#99: Evolve according to changing needs.|#39: Be the early stepping stone in an artist’s career|#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.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#65: No excuses: Thursday morning, team meeting.|#32: Be pan-gender polyphonic.|#107: Build a community / scene.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#54: What about disabled artists?|#74: Last one out turns of the lights.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#61: No all male install teams.|#55: Keep basic human needs on the forefront.|#124: Do less, do it better.|#6: Demand that visitors are active.|#132: Things will always look weird when you’re the first doing it.|#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|#14: Can you also remain a toddler institution?|#112: Spaces today don’t need to be curated, but occupied.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#90: The best systems have a failure or ‘a hole’ in them…|#137: Use the publication as programming space|#44: No name tags at dinner.|#17: An exhibition is never finished.|#99: Evolve according to changing needs.|#39: Be the early stepping stone in an artist’s career|#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.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#65: No excuses: Thursday morning, team meeting.|#32: Be pan-gender polyphonic.|#107: Build a community / scene.|
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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