#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#55: Keep basic human needs on the forefront.|#34: We pay artists.|#40: Follow the artist|#112: Spaces today don’t need to be curated, but occupied.|#30: Don’t work with artists who are assholes.|#54: What about disabled artists?|#111: Do it together.|#51: How do we invite the true unknown?|#137: Use the publication as programming space|#117: Consider design, organisational structures and architecture as programme.|#94: No objections? Just do it.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#39: Be the early stepping stone in an artist’s career|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#59: Always protect the floor when painting (or pouring concrete)|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#89: Build-in impurity within the organisation.|#44: No name tags at dinner.|#127: Remain practical: what happens to the work in an endless exhibition?|#132: Things will always look weird when you’re the first doing it.|#64: Arrange a distribution of forces.|#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|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#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.|#55: Keep basic human needs on the forefront.|#34: We pay artists.|#40: Follow the artist|#112: Spaces today don’t need to be curated, but occupied.|#30: Don’t work with artists who are assholes.|#54: What about disabled artists?|#111: Do it together.|#51: How do we invite the true unknown?|#137: Use the publication as programming space|#117: Consider design, organisational structures and architecture as programme.|#94: No objections? Just do it.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#39: Be the early stepping stone in an artist’s career|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#59: Always protect the floor when painting (or pouring concrete)|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#89: Build-in impurity within the organisation.|#44: No name tags at dinner.|#127: Remain practical: what happens to the work in an endless exhibition?|#132: Things will always look weird when you’re the first doing it.|#64: Arrange a distribution of forces.|#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|
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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