#90: The best systems have a failure or ‘a hole’ in them…|#37: Operate with radical transparency.|#119: Be a space of production.|#132: Things will always look weird when you’re the first doing it.|#91: Embrace doubt.|#82: Clean and sterile looks professional, but really boring.|#89: Build-in impurity within the organisation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#74: Last one out turns of the lights.|#26: More artists, less borders.|#107: Build a community / scene.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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.|#35: The artist fee should be good.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#68: Once in a while we need to get out of utopia and get something done.|#14: Can you also remain a toddler institution?|#16: Kunsthal Gent will always be a construction site.|#44: No name tags at dinner.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#56: Take a lunch break.|#32: Be pan-gender polyphonic.|#90: The best systems have a failure or ‘a hole’ in them…|#37: Operate with radical transparency.|#119: Be a space of production.|#132: Things will always look weird when you’re the first doing it.|#91: Embrace doubt.|#82: Clean and sterile looks professional, but really boring.|#89: Build-in impurity within the organisation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#74: Last one out turns of the lights.|#26: More artists, less borders.|#107: Build a community / scene.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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.|#35: The artist fee should be good.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#68: Once in a while we need to get out of utopia and get something done.|#14: Can you also remain a toddler institution?|#16: Kunsthal Gent will always be a construction site.|#44: No name tags at dinner.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#56: Take a lunch break.|#32: Be pan-gender polyphonic.|
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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