#81: Things come alive when there is friction.|#105: Kunsthal Gent is local in scale, but globally connected.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#36: We support production separately.|#107: Build a community / scene.|#59: Always protect the floor when painting (or pouring concrete)|#127: Remain practical: what happens to the work in an endless exhibition?|#2: Bring something new to the city of Ghent.|#99: Evolve according to changing needs.|#30: Don’t work with artists who are assholes.|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#62: Be kind. Full dishwasher: empty it.|#26: More artists, less borders.|#82: Clean and sterile looks professional, but really boring.|#14: Can you also remain a toddler institution?|#65: No excuses: Thursday morning, team meeting.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#137: Use the publication as programming space|#40: Follow the artist|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#84: The White Cube is a lie.|#61: No all male install teams.|#10: Don’t be obsessed with numbers.|#81: Things come alive when there is friction.|#105: Kunsthal Gent is local in scale, but globally connected.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#36: We support production separately.|#107: Build a community / scene.|#59: Always protect the floor when painting (or pouring concrete)|#127: Remain practical: what happens to the work in an endless exhibition?|#2: Bring something new to the city of Ghent.|#99: Evolve according to changing needs.|#30: Don’t work with artists who are assholes.|#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.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#62: Be kind. Full dishwasher: empty it.|#26: More artists, less borders.|#82: Clean and sterile looks professional, but really boring.|#14: Can you also remain a toddler institution?|#65: No excuses: Thursday morning, team meeting.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#137: Use the publication as programming space|#40: Follow the artist|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#84: The White Cube is a lie.|#61: No all male install teams.|#10: Don’t be obsessed with numbers.|
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23.07.2022 11:00

Filmscreening + discussion (in English)

Pay what you can

Syllabus Summer School Day 3:
Envisioning 'Care' after the Covid19 Pandemic

11.00 - 13.00
Filmscreening,
followed by discussion lead by Barbara Mahlknecht (English)

Marlies Pöschl, Aurore, 2019
FR/AT, 2K video, 21 min, colour, 5.1 sound

María Ruido, Estado de malestar (State of Distress), 2018-2019
Video, 63 min, colour, sound

This event brings together films discussing the contradications and potentials to the organization and infrastructures of care in neoliberal capitalism. María Ruido's State of Distress (2018-2019) reflects on the social conditions of mental health that are experienced as a private one, albeit connected with the burden of job insecurity, eternal uncertainty and extreme individualism.

Marlies Pöschl's semi-documentary science-fiction Aurore (2019) envisions the future of care and the automatization of affect in elderly care. These works, released before the Covid19 pandemic, set a perspective from which to discuss the socio-political framings, challenges and collective learnings in the wake of the Covid19 pandemic.

These works, released before the Covid19 pandemic, set a perspective from which to
discuss the socio-political framings, challenges and collective learnings in the wake of the Covid19 pandemic.

This event is part of the Syllabus Summer School Retreat
Register with an email to danielle@kunsthal.gent

Barbara Mahlknecht is a feminist researcher, curator and art educator. She currently focuses on the histories and potentialities of feminist politics of social reproduction and care.

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