#82: Clean and sterile looks professional, but really boring.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#15: Kunsthal Gent aims to be an extension of public space.|#112: Spaces today don’t need to be curated, but occupied.|#119: Be a space of production.|#74: Last one out turns of the lights.|#20: Are exhibitions the most suitable form for the art that we present?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#6: Demand that visitors are active.|#81: Things come alive when there is friction.|#53: Immaterial support for artists is important.|#28: Make Contracts.|#16: Kunsthal Gent will always be a construction site.|#40: Follow the artist|#117: Consider design, organisational structures and architecture as programme.|#127: Remain practical: what happens to the work in an endless exhibition?|#51: How do we invite the true unknown?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#4: Pay what you can.|#92: We’re a learning organisation.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#94: No objections? Just do it.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#105: Kunsthal Gent is local in scale, but globally connected.|#82: Clean and sterile looks professional, but really boring.|#141: Start a Publication Studio at Kunsthal Gent in the nearby future.|#15: Kunsthal Gent aims to be an extension of public space.|#112: Spaces today don’t need to be curated, but occupied.|#119: Be a space of production.|#74: Last one out turns of the lights.|#20: Are exhibitions the most suitable form for the art that we present?|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#6: Demand that visitors are active.|#81: Things come alive when there is friction.|#53: Immaterial support for artists is important.|#28: Make Contracts.|#16: Kunsthal Gent will always be a construction site.|#40: Follow the artist|#117: Consider design, organisational structures and architecture as programme.|#127: Remain practical: what happens to the work in an endless exhibition?|#51: How do we invite the true unknown?|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#4: Pay what you can.|#92: We’re a learning organisation.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#94: No objections? Just do it.|#23: That’s a very interesting piece, but how would it behave in a pizza joint?|#105: Kunsthal Gent is local in scale, but globally connected.|
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13.11.2020 20:00

Online screening / intro by Silvia Federici, in conversation with Jesse Jones

Pay what you can

Syllabus Reading Group #5:
screening of Nightcleaners (1975)

Friday 13 November, 20:00
Syllabus Reading Group #5

Nightcleaners (1975)


Online film screening, with an introduction by Silvia Federici and Jesse Jones
In English
Hosted by Art Cinema OFFoff, Ghent University and Kunsthal Gent

During the week with Silvia Federici (26-29 October) it became clear how relevant the theme of the film Nightcleaners (1975, Berwick Street Collective) is for the current situation of many teleworkers, who have to combine their job with care work. Therefore, in this fifth edition of the Syllabus reading group we exceptionally do not read a text, but instead Art Cinema OFFoff makes an online screening of this film possible. In Nightcleaners we see cleaners with a job during the night and a dayshift in care tasks. These women, Irish migrants in the England of 1972, get only two hours of sleep per night.

The film is introduced by Silvia Federici in conversation with artist Jesse Jones.
More information about the film can be found here.

The Syllabus Reading Group is organized by Kunsthal Gent around the work 'Syllabus' by the Irish artist Jesse Jones: a monumental curtain with the arm of Silvia Federici, creating a space for (activist) gathering.

PRACTICAL
This event is free of charge and takes place online via ZOOM.
The film will be screened via the platform of distributor LUX.
After registration, the zoom link will be sent via e-mail.

REGISTER HERE





MDC KH jessejones 017 HR

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