#105: Kunsthal Gent is local in scale, but globally connected.|#14: Can you also remain a toddler institution?|#74: Last one out turns of the lights.|#20: Are exhibitions the most suitable form for the art that we present?|#21: Live with the exhibition, spend time with it.|#54: What about disabled artists?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#4: Pay what you can.|#37: Operate with radical transparency.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#15: Kunsthal Gent aims to be an extension of public space.|#6: Demand that visitors are active.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#98: The success of it will not lie in the result but in the process.|#59: Always protect the floor when painting (or pouring concrete)|#89: Build-in impurity within the organisation.|#119: Be a space of production.|#107: Build a community / scene.|#35: The artist fee should be good.|#62: Don’t be a dick. Full dishwasher: empty it.|#127: Remain practical: what happens to the work in an endless exhibition?|#112: Spaces today don’t need to be curated, but occupied.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#56: Take a lunch break.|#29: We make the program for the artist that we exhibit.|#99: Evolve according to changing needs.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#137: Use the publication as programming space|#91: Embrace doubt.|#19: Have fun at the exhibition.|#117: Consider design, organisational structures and architecture as programme.|#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|#44: No name tags at dinner.|#64: Arrange a distribution of forces.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#65: No excuses: Thursday morning, team meeting.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#92: We’re a learning organisation.|#2: Bring something new to the city of Ghent.|#28: Make Contracts.|#40: Follow the artist|#84: The White Cube is a lie.|#94: No objections? Just do it.|#16: Kunsthal Gent will always be a construction site.|#17: An exhibition is never finished.|#82: Clean and sterile looks professional, but really boring.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#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.|#10: Don’t be obsessed with numbers.|#55: Keep basic human needs on the forefront.|#34: We pay artists.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#124: Do less, do it better.|#39: Be the early stepping stone in an artist’s career|#90: The best systems have a failure or ‘a hole’ in them…|#26: More artists, less borders.|#51: How do we invite the true unknown?|#132: Things will always look weird when you’re the first doing it.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#32: Be pan-gender polyphonic.|#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.|#61: No all male install teams.|#53: Immaterial support for artists is important.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#68: Once in a while we need to get out of utopia and get something done.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#81: Things come alive when there is friction.|#36: We support production separately.|#30: Don’t work with artists who are assholes.|#111: Do it together.|#105: Kunsthal Gent is local in scale, but globally connected.|#14: Can you also remain a toddler institution?|#74: Last one out turns of the lights.|#20: Are exhibitions the most suitable form for the art that we present?|#21: Live with the exhibition, spend time with it.|#54: What about disabled artists?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#4: Pay what you can.|#37: Operate with radical transparency.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#15: Kunsthal Gent aims to be an extension of public space.|#6: Demand that visitors are active.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#98: The success of it will not lie in the result but in the process.|#59: Always protect the floor when painting (or pouring concrete)|#89: Build-in impurity within the organisation.|#119: Be a space of production.|#107: Build a community / scene.|#35: The artist fee should be good.|#62: Don’t be a dick. Full dishwasher: empty it.|#127: Remain practical: what happens to the work in an endless exhibition?|#112: Spaces today don’t need to be curated, but occupied.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#56: Take a lunch break.|#29: We make the program for the artist that we exhibit.|#99: Evolve according to changing needs.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#137: Use the publication as programming space|#91: Embrace doubt.|#19: Have fun at the exhibition.|#117: Consider design, organisational structures and architecture as programme.|#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|#44: No name tags at dinner.|#64: Arrange a distribution of forces.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#65: No excuses: Thursday morning, team meeting.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#92: We’re a learning organisation.|#2: Bring something new to the city of Ghent.|#28: Make Contracts.|#40: Follow the artist|#84: The White Cube is a lie.|#94: No objections? Just do it.|#16: Kunsthal Gent will always be a construction site.|#17: An exhibition is never finished.|#82: Clean and sterile looks professional, but really boring.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#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.|#10: Don’t be obsessed with numbers.|#55: Keep basic human needs on the forefront.|#34: We pay artists.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#124: Do less, do it better.|#39: Be the early stepping stone in an artist’s career|#90: The best systems have a failure or ‘a hole’ in them…|#26: More artists, less borders.|#51: How do we invite the true unknown?|#132: Things will always look weird when you’re the first doing it.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#32: Be pan-gender polyphonic.|#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.|#61: No all male install teams.|#53: Immaterial support for artists is important.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#68: Once in a while we need to get out of utopia and get something done.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#81: Things come alive when there is friction.|#36: We support production separately.|#30: Don’t work with artists who are assholes.|#111: Do it together.|
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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
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