#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|#117: Consider design, organisational structures and architecture as programme.|#65: No excuses: Thursday morning, team meeting.|#119: Be a space of production.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#61: No all male install teams.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#74: Last one out turns of the lights.|#44: No name tags at dinner.|#17: An exhibition is never finished.|#98: The success of it will not lie in the result but in the process.|#137: Use the publication as programming space|#29: We make the program for the artist that we exhibit.|#89: Build-in impurity within the organisation.|#94: No objections? Just do it.|#39: Be the early stepping stone in an artist’s career|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#37: Operate with radical transparency.|#19: Have fun at the exhibition.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#53: Immaterial support for artists is important.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#132: Things will always look weird when you’re the first doing it.|#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|#117: Consider design, organisational structures and architecture as programme.|#65: No excuses: Thursday morning, team meeting.|#119: Be a space of production.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#61: No all male install teams.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#74: Last one out turns of the lights.|#44: No name tags at dinner.|#17: An exhibition is never finished.|#98: The success of it will not lie in the result but in the process.|#137: Use the publication as programming space|#29: We make the program for the artist that we exhibit.|#89: Build-in impurity within the organisation.|#94: No objections? Just do it.|#39: Be the early stepping stone in an artist’s career|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#37: Operate with radical transparency.|#19: Have fun at the exhibition.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#53: Immaterial support for artists is important.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#132: Things will always look weird when you’re the first doing it.|
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24.04.2023 20:00

Artcinema OFFoff

Price: € 8

Annelein Pompe – De Schaduwwerkers

An evening around the new fabel-documentary, The Shadow Workers, by Annelein Pompe with films by Chantal Akerman, the British experimental filmmaker Guy Sherwin and the touching, very last film of animal filmer and surrealist Jean Painlevé, but also early cinema by William K. Dickson and Segundo de Chomón.

In Ghent, a Dutch Good-for-nothing works in a honey store. She would have liked to live the life of an artist, but that fate is not hers. After all, you have to eat and pay the rent. The Dutch Good-for-nothing has a friend across the street, Usman, a Pakistani poet and pigeon lover. At night, when the people and pigeons are asleep, Usman works in his night store. There is also Clara (Clara Spilliaert), who lives in the Dutch Good-for-nothing’s dream, and the two all-knowing experts, Geert and Francesco. Geert photographs the eyes of pigeons and Francesco whispers in their ears. In The Shadow Workers, this whole story is told by a pigeon who listens to the name Lukaku. Lukaku may be a scatterbrain and never have been able to fly, but he knows a lot about these hidden workers also called artists.

“I’m looking forward to see the film finally coming home!” – Annelein Pompe

With a short foreword by the producer, Dany Deprez. In the presence of the cast & crew, followed by a Q&A.

Annelein Pompe

Annelein Pompe (1988) used to work as a projectionist at Art Cinema OFFoff, where she showed some of her earlier work and was part of our Moving Word series (2015-2019). She makes documentaries, writes poetry and prose and paints fictitious bird portraits. She lived and worked in Ghent, but moved to Brussels. There, she participated in the Sound Image Culture (SIC) program, a nomadic workplace for film and anthropology. She graduated from the Image & Language departement at the Gerrit Rietveld Academie in Amsterdam.

Programme
  • William K.L. Dickinson — Venice, Feeding the Pigeons in St. Mark's Square
    US • 1898 • 1' • b/w • silent • digital
  • Jean Painlevé — Les Pigeons du square
    FR • 1982 • 27' • colour • digitaal • fr lang • en sub
  • Segundo de Chomón & Gaston Velle — La Fée aux pigeons
    FR • 1906 • 2' • colourised, tinted & toned b&w • silent • digital
  • Annelein Pompe — De Schaduwwerkers
    BE • 2021 • 47' • colour • digital • nl/fr lang • en sub
  • Chantal Akerman — Portrait d'une paresseuse
    BE • 1986 • 8' • colour • digital • fr lang • en sub
  • Guy Sherwin — Flight
    GB • 1998 • 4' • b/w • 16mm
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