#39: Be the early stepping stone in an artist’s career|#51: How do we invite the true unknown?|#68: Once in a while we need to get out of utopia and get something done.|#55: Keep basic human needs on the forefront.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#92: We’re a learning organisation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#105: Kunsthal Gent is local in scale, but globally connected.|#10: Don’t be obsessed with numbers.|#54: What about disabled artists?|#137: Use the publication as programming space|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#124: Do less, do it better.|#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.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#14: Can you also remain a toddler institution?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#107: Build a community / scene.|#16: Kunsthal Gent will always be a construction site.|#2: Bring something new to the city of Ghent.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#20: Are exhibitions the most suitable form for the art that we present?|#90: The best systems have a failure or ‘a hole’ in them…|#91: Embrace doubt.|#39: Be the early stepping stone in an artist’s career|#51: How do we invite the true unknown?|#68: Once in a while we need to get out of utopia and get something done.|#55: Keep basic human needs on the forefront.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#92: We’re a learning organisation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#105: Kunsthal Gent is local in scale, but globally connected.|#10: Don’t be obsessed with numbers.|#54: What about disabled artists?|#137: Use the publication as programming space|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#124: Do less, do it better.|#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.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#14: Can you also remain a toddler institution?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#107: Build a community / scene.|#16: Kunsthal Gent will always be a construction site.|#2: Bring something new to the city of Ghent.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#20: Are exhibitions the most suitable form for the art that we present?|#90: The best systems have a failure or ‘a hole’ in them…|#91: Embrace doubt.|
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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