#28: Make Contracts.|#56: Take a lunch break.|#119: Be a space of production.|#19: Have fun at the exhibition.|#65: No excuses: Thursday morning, team meeting.|#14: Can you also remain a toddler institution?|#21: Live with the exhibition, spend time with it.|#117: Consider design, organisational structures and architecture as programme.|#30: Don’t work with artists who are assholes.|#39: Be the early stepping stone in an artist’s career|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#74: Last one out turns of the lights.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#61: No all male install teams.|#32: Be pan-gender polyphonic.|#64: Arrange a distribution of forces.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#105: Kunsthal Gent is local in scale, but globally connected.|#98: The success of it will not lie in the result but in the process.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#84: The White Cube is a lie.|#15: Kunsthal Gent aims to be an extension of public space.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#132: Things will always look weird when you’re the first doing it.|#28: Make Contracts.|#56: Take a lunch break.|#119: Be a space of production.|#19: Have fun at the exhibition.|#65: No excuses: Thursday morning, team meeting.|#14: Can you also remain a toddler institution?|#21: Live with the exhibition, spend time with it.|#117: Consider design, organisational structures and architecture as programme.|#30: Don’t work with artists who are assholes.|#39: Be the early stepping stone in an artist’s career|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#74: Last one out turns of the lights.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#61: No all male install teams.|#32: Be pan-gender polyphonic.|#64: Arrange a distribution of forces.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#105: Kunsthal Gent is local in scale, but globally connected.|#98: The success of it will not lie in the result but in the process.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#84: The White Cube is a lie.|#15: Kunsthal Gent aims to be an extension of public space.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#132: Things will always look weird when you’re the first doing it.|
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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