#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#15: Kunsthal Gent aims to be an extension of public space.|#117: Consider design, organisational structures and architecture as programme.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#74: Last one out turns of the lights.|#51: How do we invite the true unknown?|#20: Are exhibitions the most suitable form for the art that we present?|#119: Be a space of production.|#94: No objections? Just do it.|#68: Once in a while we need to get out of utopia and get something done.|#4: Pay what you can.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#59: Always protect the floor when painting (or pouring concrete)|#98: The success of it will not lie in the result but in the process.|#10: Don’t be obsessed with numbers.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#6: Demand that visitors are active.|#36: We support production separately.|#53: Immaterial support for artists is important.|#62: Be kind. Full dishwasher: empty it.|#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|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#15: Kunsthal Gent aims to be an extension of public space.|#117: Consider design, organisational structures and architecture as programme.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#74: Last one out turns of the lights.|#51: How do we invite the true unknown?|#20: Are exhibitions the most suitable form for the art that we present?|#119: Be a space of production.|#94: No objections? Just do it.|#68: Once in a while we need to get out of utopia and get something done.|#4: Pay what you can.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#59: Always protect the floor when painting (or pouring concrete)|#98: The success of it will not lie in the result but in the process.|#10: Don’t be obsessed with numbers.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#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.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#6: Demand that visitors are active.|#36: We support production separately.|#53: Immaterial support for artists is important.|#62: Be kind. Full dishwasher: empty it.|#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|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|
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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