#137: Use the publication as programming space|#30: Don’t work with artists who are assholes.|#15: Kunsthal Gent aims to be an extension of public space.|#14: Can you also remain a toddler institution?|#29: We make the program for the artist that we exhibit.|#84: The White Cube is a lie.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#55: Keep basic human needs on the forefront.|#62: Be kind. Full dishwasher: empty it.|#68: Once in a while we need to get out of utopia and get something done.|#19: Have fun at the exhibition.|#91: Embrace doubt.|#92: We’re a learning organisation.|#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.|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#82: Clean and sterile looks professional, but really boring.|#105: Kunsthal Gent is local in scale, but globally connected.|#117: Consider design, organisational structures and architecture as programme.|#39: Be the early stepping stone in an artist’s career|#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.|#81: Things come alive when there is friction.|#64: Arrange a distribution of forces.|#137: Use the publication as programming space|#30: Don’t work with artists who are assholes.|#15: Kunsthal Gent aims to be an extension of public space.|#14: Can you also remain a toddler institution?|#29: We make the program for the artist that we exhibit.|#84: The White Cube is a lie.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#55: Keep basic human needs on the forefront.|#62: Be kind. Full dishwasher: empty it.|#68: Once in a while we need to get out of utopia and get something done.|#19: Have fun at the exhibition.|#91: Embrace doubt.|#92: We’re a learning organisation.|#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.|#74: Last one out turns of the lights.|#89: Build-in impurity within the organisation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#82: Clean and sterile looks professional, but really boring.|#105: Kunsthal Gent is local in scale, but globally connected.|#117: Consider design, organisational structures and architecture as programme.|#39: Be the early stepping stone in an artist’s career|#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.|#81: Things come alive when there is friction.|#64: Arrange a distribution of forces.|
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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