#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#132: Things will always look weird when you’re the first doing it.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#55: Keep basic human needs on the forefront.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#29: We make the program for the artist that we exhibit.|#56: Take a lunch break.|#34: We pay artists.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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.|#35: The artist fee should be good.|#36: We support production separately.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#14: Can you also remain a toddler institution?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#26: More artists, less borders.|#28: Make Contracts.|#54: What about disabled artists?|#4: Pay what you can.|#59: Always protect the floor when painting (or pouring concrete)|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#132: Things will always look weird when you’re the first doing it.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#55: Keep basic human needs on the forefront.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#29: We make the program for the artist that we exhibit.|#56: Take a lunch break.|#34: We pay artists.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#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.|#35: The artist fee should be good.|#36: We support production separately.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#14: Can you also remain a toddler institution?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#26: More artists, less borders.|#28: Make Contracts.|#54: What about disabled artists?|#4: Pay what you can.|#59: Always protect the floor when painting (or pouring concrete)|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|
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10.11.2018 00:00

Pay what you can

Circles Of Cinema

Dit programma trekt het register van experimentele film open en stelt een bredere vraag naar de relaties tussen feminisme en cinema. Meer bepaalt de organisatie van lichamen en identiteiten, eigen aan cinema, de productie en vertoning ervan, die erbij komt kijken.

  • Boekvoorstelling The Dimensions of Difference – Caroline Godart
  • Screening en presentatie Alliances (2018) – Alex Martinis Roe
  • Gesprek tussen Caroline Godart en Alex Martinis Roe (Engels gesproken)

In haar boek 'The Dimensions of Difference – Space, Time and Bodies in Women's Cinema and Continental Philosophy' schrijft Godart een feministische filmkritiek en verkent ze de inzet van lichamen in tijd en ruimte in door vrouwen geregisseerde cinema. Vanuit een dichte lezing van het werk Irigaray, Bergson en Deleuze analyseert ze onder andere het montage- en camerawerk in Claire Denis's Good Work en Trouble Every Day, Lucrecia Martel's The Holy Girl en Jane Campion's The Piano. Het boek onderzoekt hoe bepaalde films seksuele differentie in een filmische ervaring omzetten, en framed deze analyse binnen een zorgvuldig filosofisch onderzoek naar de notie van alteriteit zelf.

Alex Martinis Roe onderzoekt sinds haar project To Become Two (2014-2017) de relationele geschiedenis van verschillende feministische collectieven in Europa en Australië. Met haar nieuw werk 'Alliances' vervolgt ze dat onderzoek en interviewt ze tien toegewijde feministen uit Parijs. Samen verkennen ze het nalatenschap van de bevrijdingsbeweging voor vrouwen beginnende in 1968 in Parijs. De film gaat in op de noodzaak voor het vormen van allianties – een solidariteit-in-verschil – tussen verschillende feministische bewegingen. De film is gedraaid in Centre Pompidou, Université Paris VIII en het omringende Saint-Denis en wordt op die manier een analyse van de relatie tussen het centrum en de rand van de stad, en de verwikkeling van deze vragen binnen een feministische politiek.