#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#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.|#53: Immaterial support for artists is important.|#32: Be pan-gender polyphonic.|#90: The best systems have a failure or ‘a hole’ in them…|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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.|#26: More artists, less borders.|#55: Keep basic human needs on the forefront.|#54: What about disabled artists?|#81: Things come alive when there is friction.|#6: Demand that visitors are active.|#44: No name tags at dinner.|#16: Kunsthal Gent will always be a construction site.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#117: Consider design, organisational structures and architecture as programme.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#82: Clean and sterile looks professional, but really boring.|#4: Pay what you can.|#36: We support production separately.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#10: Don’t be obsessed with numbers.|#39: Be the early stepping stone in an artist’s career|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#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.|#53: Immaterial support for artists is important.|#32: Be pan-gender polyphonic.|#90: The best systems have a failure or ‘a hole’ in them…|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#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.|#26: More artists, less borders.|#55: Keep basic human needs on the forefront.|#54: What about disabled artists?|#81: Things come alive when there is friction.|#6: Demand that visitors are active.|#44: No name tags at dinner.|#16: Kunsthal Gent will always be a construction site.|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#117: Consider design, organisational structures and architecture as programme.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#82: Clean and sterile looks professional, but really boring.|#4: Pay what you can.|#36: We support production separately.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#10: Don’t be obsessed with numbers.|#39: Be the early stepping stone in an artist’s career|
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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.