#59: Always protect the floor when painting (or pouring concrete)|#119: Be a space of production.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#117: Consider design, organisational structures and architecture as programme.|#35: The artist fee should be good.|#64: Arrange a distribution of forces.|#56: Take a lunch break.|#112: Spaces today don’t need to be curated, but occupied.|#44: No name tags at dinner.|#30: Don’t work with artists who are assholes.|#99: Evolve according to changing needs.|#132: Things will always look weird when you’re the first doing it.|#39: Be the early stepping stone in an artist’s career|#82: Clean and sterile looks professional, but really boring.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#53: Immaterial support for artists is important.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#29: We make the program for the artist that we exhibit.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#90: The best systems have a failure or ‘a hole’ in them…|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#61: No all male install teams.|#94: No objections? Just do it.|#15: Kunsthal Gent aims to be an extension of public space.|#59: Always protect the floor when painting (or pouring concrete)|#119: Be a space of production.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#117: Consider design, organisational structures and architecture as programme.|#35: The artist fee should be good.|#64: Arrange a distribution of forces.|#56: Take a lunch break.|#112: Spaces today don’t need to be curated, but occupied.|#44: No name tags at dinner.|#30: Don’t work with artists who are assholes.|#99: Evolve according to changing needs.|#132: Things will always look weird when you’re the first doing it.|#39: Be the early stepping stone in an artist’s career|#82: Clean and sterile looks professional, but really boring.|#60: Look after all tools. The moment it looks like things are missing it means that things are missing.|#53: Immaterial support for artists is important.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#3: Entrance to all exhibitions at Kunsthal Gent is free.|#29: We make the program for the artist that we exhibit.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#90: The best systems have a failure or ‘a hole’ in them…|#88: Changing internships, artists, curators,... are important propositions to keep a fresh set of eyes.|#61: No all male install teams.|#94: No objections? Just do it.|#15: Kunsthal Gent aims to be an extension of public space.|
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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