#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#68: Once in a while we need to get out of utopia and get something done.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#36: We support production separately.|#14: Can you also remain a toddler institution?|#111: Do it together.|#64: Arrange a distribution of forces.|#30: Don’t work with artists who are assholes.|#26: More artists, less borders.|#39: Be the early stepping stone in an artist’s career|#37: Operate with radical transparency.|#61: No all male install teams.|#112: Spaces today don’t need to be curated, but occupied.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#44: No name tags at dinner.|#81: Things come alive when there is friction.|#51: How do we invite the true unknown?|#2: Bring something new to the city of Ghent.|#20: Are exhibitions the most suitable form for the art that we present?|#89: Build-in impurity within the organisation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#98: The success of it will not lie in the result but in the process.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#54: What about disabled artists?|#127: Remain practical: what happens to the work in an endless exhibition?|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#68: Once in a while we need to get out of utopia and get something done.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#36: We support production separately.|#14: Can you also remain a toddler institution?|#111: Do it together.|#64: Arrange a distribution of forces.|#30: Don’t work with artists who are assholes.|#26: More artists, less borders.|#39: Be the early stepping stone in an artist’s career|#37: Operate with radical transparency.|#61: No all male install teams.|#112: Spaces today don’t need to be curated, but occupied.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#44: No name tags at dinner.|#81: Things come alive when there is friction.|#51: How do we invite the true unknown?|#2: Bring something new to the city of Ghent.|#20: Are exhibitions the most suitable form for the art that we present?|#89: Build-in impurity within the organisation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#98: The success of it will not lie in the result but in the process.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#54: What about disabled artists?|#127: Remain practical: what happens to the work in an endless exhibition?|
This website uses cookies to improve your user experience. More info

12—13.03.2022 11:00

in collaboration with CAMPO

Pay what you can

Nein presents:
And Then We Touch / My Body is Because of Dogs by Benjamin Egger

In the weekend of 12 & 13 March Nein presents two movies by Benjamin Egger in loop at the cinema of Kunsthal Gent. Made possible with the support of the Swiss Art Council Pro Helvetia and the Flemish Government. The performance ‘The Dog in Me’ by Benjamin Egger is scheduled to happen on 10/03 at CAMPO

AND THEN WE TOUCH
Video, Colour, Dolby 5.1, DCP 13‘ 30” 2021

The viewer becomes part of an intimate scene between two pupplayers in a living room. The close-up cinematography shows the soft touches and playful actions of two men dressed as dogs. AND THEN WE TOUCH confronts us with our own needs for sensuality, touch and playfulness as human animals. A shimmering space opens up when the human is touching the non-human.

Egger raises our awareness of the performative nature of categories such as humanity and animality. In his cinematic essay he attempts to make up a post-human identity performed through bodily gestures and grunts. Becoming animal does not amount to a return to a so-called state of nature; on the contrary, it is a hybrid process, deeply “impure”, in which bodies and artifacts merge.

Written and directed: Benjamin Egger

Pupplayers: Aslan and Noah

Cinematography: Andi Widmer

Sound recording and mix: Reto Stamm

Post production: Silvio Gerber

Off-Voice: Darcy Alexandra

Poem: Benjamin Egger

Title Design: Marlon Ilg

——

MY BODY IS BECAUSE OF DOGS
Video, Colour, Stereo, HD 14‘ 10” - 2020

Benjamin Egger has spent days and nights with a pack of stray dogs in New Delhi. During the nights they are taking over the urban space for themselves. The video shows the pack at night while we are listening to thoughts on the evolutionary entanglement of dogs and human animals from the off. Egger‘s work rises questions about the influence of the dog on the human animal - not only on the social behavior, but also on the biological development. Human animals have lived with dogs for over 20,000 years. How has that shaped the human self-conception? How essential is the bond between these two hyper- cooperative species? How much dog is the human animal?

Written and directed: Benjamin Egger

Cinematography: Benjamin Egger

Sound recording and mix: Awah Kempf

Off-Voice: Teresa Vittucci

Text: Benjamin Egger


IMAGES
And then we touch