#84: The White Cube is a lie.|#35: The artist fee should be good.|#56: Take a lunch break.|#59: Always protect the floor when painting (or pouring concrete)|#17: An exhibition is never finished.|#19: Have fun at the exhibition.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#6: Demand that visitors are active.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#107: Build a community / scene.|#39: Be the early stepping stone in an artist’s career|#20: Are exhibitions the most suitable form for the art that we present?|#105: Kunsthal Gent is local in scale, but globally connected.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#28: Make Contracts.|#29: We make the program for the artist that we exhibit.|#127: Remain practical: what happens to the work in an endless exhibition?|#30: Don’t work with artists who are assholes.|#99: Evolve according to changing needs.|#2: Bring something new to the city of Ghent.|#91: Embrace doubt.|#111: Do it together.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#94: No objections? Just do it.|#84: The White Cube is a lie.|#35: The artist fee should be good.|#56: Take a lunch break.|#59: Always protect the floor when painting (or pouring concrete)|#17: An exhibition is never finished.|#19: Have fun at the exhibition.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#6: Demand that visitors are active.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#107: Build a community / scene.|#39: Be the early stepping stone in an artist’s career|#20: Are exhibitions the most suitable form for the art that we present?|#105: Kunsthal Gent is local in scale, but globally connected.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#28: Make Contracts.|#29: We make the program for the artist that we exhibit.|#127: Remain practical: what happens to the work in an endless exhibition?|#30: Don’t work with artists who are assholes.|#99: Evolve according to changing needs.|#2: Bring something new to the city of Ghent.|#91: Embrace doubt.|#111: Do it together.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#94: No objections? Just do it.|
This website uses cookies to improve your user experience. More info

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
Reserve your ticket

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