#14: Can you also remain a toddler institution?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#98: The success of it will not lie in the result but in the process.|#32: Be pan-gender polyphonic.|#105: Kunsthal Gent is local in scale, but globally connected.|#119: Be a space of production.|#53: Immaterial support for artists is important.|#65: No excuses: Thursday morning, team meeting.|#137: Use the publication as programming space|#10: Don’t be obsessed with numbers.|#26: More artists, less borders.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#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.|#16: Kunsthal Gent will always be a construction site.|#127: Remain practical: what happens to the work in an endless exhibition?|#54: What about disabled artists?|#30: Don’t work with artists who are assholes.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#107: Build a community / scene.|#59: Always protect the floor when painting (or pouring concrete)|#55: Keep basic human needs on the forefront.|#91: Embrace doubt.|#51: How do we invite the true unknown?|#14: Can you also remain a toddler institution?|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#98: The success of it will not lie in the result but in the process.|#32: Be pan-gender polyphonic.|#105: Kunsthal Gent is local in scale, but globally connected.|#119: Be a space of production.|#53: Immaterial support for artists is important.|#65: No excuses: Thursday morning, team meeting.|#137: Use the publication as programming space|#10: Don’t be obsessed with numbers.|#26: More artists, less borders.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#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.|#16: Kunsthal Gent will always be a construction site.|#127: Remain practical: what happens to the work in an endless exhibition?|#54: What about disabled artists?|#30: Don’t work with artists who are assholes.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#107: Build a community / scene.|#59: Always protect the floor when painting (or pouring concrete)|#55: Keep basic human needs on the forefront.|#91: Embrace doubt.|#51: How do we invite the true unknown?|
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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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