#54: What about disabled artists?|#10: Don’t be obsessed with numbers.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#90: The best systems have a failure or ‘a hole’ in them…|#34: We pay artists.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#36: We support production separately.|#55: Keep basic human needs on the forefront.|#51: How do we invite the true unknown?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#6: Demand that visitors are active.|#59: Always protect the floor when painting (or pouring concrete)|#111: Do it together.|#32: Be pan-gender polyphonic.|#81: Things come alive when there is friction.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#119: Be a space of production.|#26: More artists, less borders.|#107: Build a community / scene.|#37: Operate with radical transparency.|#14: Can you also remain a toddler institution?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#39: Be the early stepping stone in an artist’s career|#35: The artist fee should be good.|#4: Pay what you can.|#54: What about disabled artists?|#10: Don’t be obsessed with numbers.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#90: The best systems have a failure or ‘a hole’ in them…|#34: We pay artists.|#5: Kunsthal Gent is a city where different identities collide in an ongoing exhibition without end date. New exhibitions are always a new layer in this ongoing story.|#36: We support production separately.|#55: Keep basic human needs on the forefront.|#51: How do we invite the true unknown?|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#6: Demand that visitors are active.|#59: Always protect the floor when painting (or pouring concrete)|#111: Do it together.|#32: Be pan-gender polyphonic.|#81: Things come alive when there is friction.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#119: Be a space of production.|#26: More artists, less borders.|#107: Build a community / scene.|#37: Operate with radical transparency.|#14: Can you also remain a toddler institution?|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#39: Be the early stepping stone in an artist’s career|#35: The artist fee should be good.|#4: Pay what you can.|
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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