#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.|#111: Do it together.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#81: Things come alive when there is friction.|#17: An exhibition is never finished.|#29: We make the program for the artist that we exhibit.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#117: Consider design, organisational structures and architecture as programme.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#40: Follow the artist|#44: No name tags at dinner.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#32: Be pan-gender polyphonic.|#99: Evolve according to changing needs.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#112: Spaces today don’t need to be curated, but occupied.|#137: Use the publication as programming space|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#84: The White Cube is a lie.|#36: We support production separately.|#20: Are exhibitions the most suitable form for the art that we present?|#107: Build a community / scene.|#94: No objections? Just do it.|#26: More artists, less borders.|#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.|#111: Do it together.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#81: Things come alive when there is friction.|#17: An exhibition is never finished.|#29: We make the program for the artist that we exhibit.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#117: Consider design, organisational structures and architecture as programme.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#40: Follow the artist|#44: No name tags at dinner.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#32: Be pan-gender polyphonic.|#99: Evolve according to changing needs.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#112: Spaces today don’t need to be curated, but occupied.|#137: Use the publication as programming space|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#84: The White Cube is a lie.|#36: We support production separately.|#20: Are exhibitions the most suitable form for the art that we present?|#107: Build a community / scene.|#94: No objections? Just do it.|#26: More artists, less borders.|
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10.11.2018 00:00

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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.