#32: Be pan-gender polyphonic.|#105: Kunsthal Gent is local in scale, but globally connected.|#132: Things will always look weird when you’re the first doing it.|#39: Be the early stepping stone in an artist’s career|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#117: Consider design, organisational structures and architecture as programme.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#99: Evolve according to changing needs.|#29: We make the program for the artist that we exhibit.|#61: No all male install teams.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#111: Do it together.|#35: The artist fee should be good.|#14: Can you also remain a toddler institution?|#10: Don’t be obsessed with numbers.|#59: Always protect the floor when painting (or pouring concrete)|#2: Bring something new to the city of Ghent.|#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.|#119: Be a space of production.|#127: Remain practical: what happens to the work in an endless exhibition?|#56: Take a lunch break.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#34: We pay artists.|#28: Make Contracts.|#32: Be pan-gender polyphonic.|#105: Kunsthal Gent is local in scale, but globally connected.|#132: Things will always look weird when you’re the first doing it.|#39: Be the early stepping stone in an artist’s career|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#117: Consider design, organisational structures and architecture as programme.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#99: Evolve according to changing needs.|#29: We make the program for the artist that we exhibit.|#61: No all male install teams.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#111: Do it together.|#35: The artist fee should be good.|#14: Can you also remain a toddler institution?|#10: Don’t be obsessed with numbers.|#59: Always protect the floor when painting (or pouring concrete)|#2: Bring something new to the city of Ghent.|#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.|#119: Be a space of production.|#127: Remain practical: what happens to the work in an endless exhibition?|#56: Take a lunch break.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#34: We pay artists.|#28: Make Contracts.|
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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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