#119: Be a space of production.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#2: Bring something new to the city of Ghent.|#56: Take a lunch break.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#81: Things come alive when there is friction.|#68: Once in a while we need to get out of utopia and get something done.|#17: An exhibition is never finished.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#132: Things will always look weird when you’re the first doing it.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#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|#20: Are exhibitions the most suitable form for the art that we present?|#30: Don’t work with artists who are assholes.|#28: Make Contracts.|#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.|#37: Operate with radical transparency.|#44: No name tags at dinner.|#51: How do we invite the true unknown?|#65: No excuses: Thursday morning, team meeting.|#98: The success of it will not lie in the result but in the process.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#36: We support production separately.|#35: The artist fee should be good.|#119: Be a space of production.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#2: Bring something new to the city of Ghent.|#56: Take a lunch break.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#81: Things come alive when there is friction.|#68: Once in a while we need to get out of utopia and get something done.|#17: An exhibition is never finished.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#132: Things will always look weird when you’re the first doing it.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#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|#20: Are exhibitions the most suitable form for the art that we present?|#30: Don’t work with artists who are assholes.|#28: Make Contracts.|#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.|#37: Operate with radical transparency.|#44: No name tags at dinner.|#51: How do we invite the true unknown?|#65: No excuses: Thursday morning, team meeting.|#98: The success of it will not lie in the result but in the process.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#36: We support production separately.|#35: The artist fee should be good.|
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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.