#59: Always protect the floor when painting (or pouring concrete)|#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|#89: Build-in impurity within the organisation.|#20: Are exhibitions the most suitable form for the art that we present?|#10: Don’t be obsessed with numbers.|#56: Take a lunch break.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#55: Keep basic human needs on the forefront.|#112: Spaces today don’t need to be curated, but occupied.|#51: How do we invite the true unknown?|#53: Immaterial support for artists is important.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#98: The success of it will not lie in the result but in the process.|#61: No all male install teams.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#62: Be kind. Full dishwasher: empty it.|#36: We support production separately.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#127: Remain practical: what happens to the work in an endless exhibition?|#68: Once in a while we need to get out of utopia and get something done.|#35: The artist fee should be good.|#16: Kunsthal Gent will always be a construction site.|#4: Pay what you can.|#137: Use the publication as programming space|#59: Always protect the floor when painting (or pouring concrete)|#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|#89: Build-in impurity within the organisation.|#20: Are exhibitions the most suitable form for the art that we present?|#10: Don’t be obsessed with numbers.|#56: Take a lunch break.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#55: Keep basic human needs on the forefront.|#112: Spaces today don’t need to be curated, but occupied.|#51: How do we invite the true unknown?|#53: Immaterial support for artists is important.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#98: The success of it will not lie in the result but in the process.|#61: No all male install teams.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#62: Be kind. Full dishwasher: empty it.|#36: We support production separately.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#127: Remain practical: what happens to the work in an endless exhibition?|#68: Once in a while we need to get out of utopia and get something done.|#35: The artist fee should be good.|#16: Kunsthal Gent will always be a construction site.|#4: Pay what you can.|#137: Use the publication as programming space|
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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.