#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.|#44: No name tags at dinner.|#124: Do less, do it better.|#35: The artist fee should be good.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#119: Be a space of production.|#99: Evolve according to changing needs.|#34: We pay artists.|#39: Be the early stepping stone in an artist’s career|#14: Can you also remain a toddler institution?|#20: Are exhibitions the most suitable form for the art that we present?|#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|#29: We make the program for the artist that we exhibit.|#61: No all male install teams.|#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.|#117: Consider design, organisational structures and architecture as programme.|#56: Take a lunch break.|#32: Be pan-gender polyphonic.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#59: Always protect the floor when painting (or pouring concrete)|#15: Kunsthal Gent aims to be an extension of public space.|#112: Spaces today don’t need to be curated, but occupied.|#54: What about disabled artists?|#84: The White Cube is a lie.|#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.|#44: No name tags at dinner.|#124: Do less, do it better.|#35: The artist fee should be good.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#119: Be a space of production.|#99: Evolve according to changing needs.|#34: We pay artists.|#39: Be the early stepping stone in an artist’s career|#14: Can you also remain a toddler institution?|#20: Are exhibitions the most suitable form for the art that we present?|#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|#29: We make the program for the artist that we exhibit.|#61: No all male install teams.|#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.|#117: Consider design, organisational structures and architecture as programme.|#56: Take a lunch break.|#32: Be pan-gender polyphonic.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#59: Always protect the floor when painting (or pouring concrete)|#15: Kunsthal Gent aims to be an extension of public space.|#112: Spaces today don’t need to be curated, but occupied.|#54: What about disabled artists?|#84: The White Cube is a lie.|
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22.11.2021 20:00

Filmprogramma

Price: € 8

Art cinema OFFoff presents:
James Bridle - Se ti sabir + My delight on a shining night

James Bridle

Se ti sabir

GB • 2019 • 19' • kleur • digitaal

My delight on a shining night

GB • 2018 • 32' • kleur • digitaal

British writer and artist James Bridle (1980) focuses on the discussion about technology, digitization, the nature of intelligence and its consequences for our society. His critical films invite reflection without being intrusive or falling back on written or spoken argumentation, as in My delight on a shining night (2018).

This film documents the flamingo population in the Limassol salt lake that served as a number station broadcast site from the 1970s to 2008. These stations broadcast endless sequences of numbers, probably coded spy messages, a technique commonly used in the Cold War. According to Bridle, My delight is a film about “the shimmering infrastructure of control and surveillance and the exuberant life of the birds and ourselves, between information and ecology, between computational prediction and embodied observation.”

Se ti sabir (2019) is a monologue and essay consisting of shots of some pieces of land belonging to the “Maastricht Formation” and a reflection on different forms of intelligence. Central is our attitude towards “non-human” forms of knowledge. In an era in which we are learning more and more about different forms of intelligence that can populate our world, we simultaneously create computer systems that increasingly take over our cognitive and creative processes. Se ti sabirtries to imagine a new attitude towards other forms of intelligence, which may allow us to better understand not only each other but also the beings that surround us and those that we create ourselves.

Se ti sabir 001

Se ti sabir © James Bridle

6 My delight on a shining night James Bridle 1024x581