#62: Be kind. Full dishwasher: empty it.|#74: Last one out turns of the lights.|#111: Do it together.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#44: No name tags at dinner.|#4: Pay what you can.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#51: How do we invite the true unknown?|#40: Follow the artist|#6: Demand that visitors are active.|#2: Bring something new to the city of Ghent.|#98: The success of it will not lie in the result but in the process.|#99: Evolve according to changing needs.|#29: We make the program for the artist that we exhibit.|#105: Kunsthal Gent is local in scale, but globally connected.|#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.|#35: The artist fee should be good.|#14: Can you also remain a toddler institution?|#132: Things will always look weird when you’re the first doing it.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#26: More artists, less borders.|#82: Clean and sterile looks professional, but really boring.|#53: Immaterial support for artists is important.|#90: The best systems have a failure or ‘a hole’ in them…|#62: Be kind. Full dishwasher: empty it.|#74: Last one out turns of the lights.|#111: Do it together.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#44: No name tags at dinner.|#4: Pay what you can.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#51: How do we invite the true unknown?|#40: Follow the artist|#6: Demand that visitors are active.|#2: Bring something new to the city of Ghent.|#98: The success of it will not lie in the result but in the process.|#99: Evolve according to changing needs.|#29: We make the program for the artist that we exhibit.|#105: Kunsthal Gent is local in scale, but globally connected.|#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.|#35: The artist fee should be good.|#14: Can you also remain a toddler institution?|#132: Things will always look weird when you’re the first doing it.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#26: More artists, less borders.|#82: Clean and sterile looks professional, but really boring.|#53: Immaterial support for artists is important.|#90: The best systems have a failure or ‘a hole’ in them…|
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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