#16: Kunsthal Gent will always be a construction site.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#19: Have fun at the exhibition.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#107: Build a community / scene.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#91: Embrace doubt.|#10: Don’t be obsessed with numbers.|#51: How do we invite the true unknown?|#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|#39: Be the early stepping stone in an artist’s career|#61: No all male install teams.|#132: Things will always look weird when you’re the first doing it.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#92: We’re a learning organisation.|#64: Arrange a distribution of forces.|#34: We pay artists.|#40: Follow the artist|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#35: The artist fee should be good.|#15: Kunsthal Gent aims to be an extension of public space.|#68: Once in a while we need to get out of utopia and get something done.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#37: Operate with radical transparency.|#81: Things come alive when there is friction.|#16: Kunsthal Gent will always be a construction site.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#19: Have fun at the exhibition.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#107: Build a community / scene.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#91: Embrace doubt.|#10: Don’t be obsessed with numbers.|#51: How do we invite the true unknown?|#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|#39: Be the early stepping stone in an artist’s career|#61: No all male install teams.|#132: Things will always look weird when you’re the first doing it.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#92: We’re a learning organisation.|#64: Arrange a distribution of forces.|#34: We pay artists.|#40: Follow the artist|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#35: The artist fee should be good.|#15: Kunsthal Gent aims to be an extension of public space.|#68: Once in a while we need to get out of utopia and get something done.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#37: Operate with radical transparency.|#81: Things come alive when there is friction.|
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26.10.2020 20:00

co-hosted by Kunsthal Gent, Vooruit and Ghent University

Pay what you can

Art cinema OFFoff presents:
Nightcleaners (carte blanche Silvia Federici)

NIGHTCLEANERS
carte blanche Silvia Federici
GB • 1975 • 90' • b&w • digital

Monday 26 October, 20:00
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Activist, author and academic Silvia Federici, known for her research and commitment at the crossroads of feminist, anti-capitalist and anti-colonial struggles, presents the film Nightcleaners (1975). This carte blanche is part of a multi-day event with Silvia Federici in collaboration with Kunsthal Gent, Ghent University and Vooruit (that includes an online workshop and a lecture by Silvia Federici.)

Nightcleaners
was created by the Berwick Street Collective consisting of Marc Karlin, Mary Kelly, James Scott and Humphry Trevelyan. The collective can be seen as the avant-garde of the British documentary film of the 1970s with inspirations like Jean-Luc Godard and Chris Marker. Their films deal with political and cultural issues such as the conflict between underrepresented working class communities or the political hierarchies within trade unions and governments.

The film was originally intended as a campaign film to unite underpaid women who clean office buildings at night. The Berwick Street Collective changed the original form of the film as they perceived the complexity of the campaign and the different relationships and interactions within the groups. The result is a reflexive film in which the investigation of cinematic representation is part of the structure and purpose of the film itself.

Marc Karlin calls it a film “about distances”. “The film was about the distance between us and the nightcleaners, between the women’s movement and the nightcleaners, and was choreographing a situation in which communication was absolutely near enough impossible.”

Martine Vanneuville
, cleaner at Ghent University and union representative, takes part in the film program. Silvia Federici will do a video introduction.


Image: lux.org

Nightcleaners e1585562668694